MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
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The ‘father of us all’
As artists like Picasso and Matisse recognised, Paul Cezanne's radical break with tradition was the seed for a new era of modern art, says CHRISTINE LINDEY
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
IN 1861 Paul Cezanne (1839-1906) arrived in Paris from Provence, then an unfashionable backwater, as a provincial outsider.
Combative and curmudgeonly, he was as vociferous an opponent of aesthetic orthodoxy as he was of Louis Napoleon’s undemocratic, corrupt Second Empire.
His art was so radical that he was in his sixties before a handful of admirers hailed its importance. He’d invented a new visual language which laid the foundation of modern art.
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