But behind this image hides a truth far more delicate and complex. The moment Vincent took the razor and cut his ear was not an act of sudden madness, but a human breaking point born from loneliness, an intense yearning for connection, and a deep fear of abandonment.

The town of Arles was shocked. Rumors raced, local articles raged, and suddenly van Gogh became a figure who frightened his surroundings, long before he became a revered genius. But what seemed to others like madness was, perhaps more than anything, a moment of uncontrollable human pain.

Psychologists and medical researchers have raised countless speculations over the years – epilepsy, exposure to toxic substances in paints, deep depression, and bipolar disorder. But perhaps the simple answer is the one we know from every human story – he was wounded. He was lonely. And he searched for a way to soothe the pain he didn't know how to speak.

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The artwork, titled "Bust of a Woman in a Flowery Hat (Dora Maar)," was completed near the conclusion of the pair's stormy nine-year romance and depicts Maar with gentler, more vibrant tones compared to earlier portraits Picasso created of his lover.

The newly revealed painting shows Maar's fragmented visage rendered in brilliant colors without traditional perspective, appearing distressed and near tears, created during the period when Maar discovered that 61-year-old Picasso planned to abandon her for 21-year-old artist Françoise Gilot.

The completion of the portrait occurred in July 1943, with limited exhibitions held beyond his Paris studio on Rue des Grands Augustins. It remained in private ownership since its purchase in August 1944, during Paris' liberation month.

Nazi forces controlling Paris during World War II classified Picasso's creations as "degenerate," resulting in studio raids and exhibition ban threats against his artistic output.

Documentation of its existence came through a black-and-white photograph captured before the sale and included in an art publication, while the current seller, who inherited the work from an unnamed French collector grandparent, has chosen anonymity.

Numerous paintings of Maar were created by Picasso, including his renowned "Portrait of Dora Maar" and "Dora Maar au Chat," though she commented about these works: "All of his portraits of me are lies. They're all Picassos. Not one is Dora Maar."

Their initial meeting occurred in late 1935 while she captured promotional photographs for Jean Renoir's movie "The Crime of Monsieur Lange," during which period Picasso maintained his existing relationship with Marie-Thérèse Walter, mother of his daughter Maya, throughout his involvement with Maar.

Maar's masochistic nature captivated Picasso, leading him to frequently portray her as a suffering individual, typically weeping, as seen in "La Femme qui pleure" (Weeping Woman), which art historians believe he created to symbolize Spanish civil war anguish while also reflecting his reported mistreatment of Maar and their violent confrontations.

Maar, who passed away in Paris in 1997 at the age of 89, earned recognition as both Picasso's inspiration and model, beyond their romantic connection, establishing herself as an accomplished surrealist photographer whose techniques significantly influenced his artistic development throughout their partnership.

Lucien Paris auction house has conservatively appraised the 80cm x 60cm oil painting at approximately €8 million ($6.9 million), while anticipating substantially higher final bids. The auction house maintained secrecy about the artwork's existence until Thursday's media presentation.

Auctioneer Christophe Lucien described the find as monumentally significant, characterizing the piece as a masterpiece and an exceptional demonstration of how Picasso's creativity provided essential illumination during the occupation's darkness, noting that while experts knew of its existence through photographs, the work's true colors remained unseen until now.

"It is not only a milestone in the history of art but also in the private life of Picasso," Lucien stated, adding, "It is a refreshing portrait of Dora Maar; exceptional and full of emotion. Discovering it is a big moment in our lives as experts."

The painting will be auctioned by Lucien Paris on October 24, with public display scheduled for three days preceding the sale.

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Maurizio Cattelan, the Italian creator behind the provocative installation titled "Comedian" – which fetched $6.2 million at a New York sale during the previous year – expressed dissatisfaction that the individual failed to consume the adhesive material and banana peel as well, according to France 24.

Following the incident involving the appetite-driven guest on the preceding Saturday, "security staff rapidly and calmly intervened," the Pompidou-Metz museum in eastern France stated, as France 24 documented.

The installation received immediate restoration, with museum officials noting it was "reinstalled within minutes," they confirmed to the outlet. Museum representatives explained that "As the fruit is perishable, it is regularly replaced according to instructions from the artist," France 24 reported.

Cattelan observed that the individual who consumed the banana had "confused the fruit for the work of art," according to the media outlet. "Instead of eating the banana with its skin and duct tape, the visitor just consumed the fruit," the artist explained, France 24 documented.

The edible installation by Cattelan has generated debate since its inaugural presentation at Miami Beach's 2019 Art Basel exhibition. The artist has described his banana creation as critique targeting the art marketplace, an industry he has previously condemned for excessive speculation and inadequate support for creative professionals.

The New York Post characterized the original $120,000 price tag for "Comedian" in 2019 as proof that the marketplace had become "bananas" and the artistic community had "gone mad." Previous consumption incidents have occurred with this particular artwork.

David Datuna, a performance artist, consumed "Comedian" during 2019, claiming he experienced being "hungry" while examining the piece at the Miami exhibition. Justin Sun, a crypto entrepreneur of Chinese origin, purchased the artwork for $6.2 million the previous year, subsequently consuming it while cameras documented the event. Beyond his banana installation, Cattelan gained recognition for creating an 18-carat, operational gold toilet titled "America" that was presented to Donald Trump throughout his initial White House tenure.

A British judicial panel determined in March that two individuals committed theft of the golden toilet during a 2020 exhibition in the United Kingdom, taken from an 18th-century estate that served as Winston Churchill's birthplace. The valuable toilet was dismantled into components and none of the precious metal has been located.

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The Erich Schelling Architecture Foundation, located in Karlsruhe, Germany, has decided not to present an excellence award to a British artist following his support for boycotting Israel. The foundation typically awards two prizes every two years, each worth 30,000 marks ($16,200 USD) – one for completed architectural work and another for innovative theoretical architectural planning.

This year, the foundation's jury selected British artist James Bridle for his theoretical work, praising it as providing "significant enrichment to current discourse on complex relationships between society, technology, and ecology."

On Monday, just two days before the ceremony scheduled for Wednesday, the foundation publicly announced that it would not distribute this year's special prize for theoretical architectural planning, the category in which Bridle had won.

The British newspaper The Guardian learned that the decision not to award the prize to James Bridle stemmed from his signature on a letter calling for the boycott of Israeli cultural institutions in response to the war in Gaza. The letter, published on an American cultural portal and signed by thousands of artists, accuses Israel of ethnic cleansing and apartheid.

pic.twitter.com/3Je7VRDxCB

— James Bridle (@jamesbridle) November 1, 2023

 The foundation's management discovered Bridle's signature on the letter and subsequently unanimously decided to cancel the award, citing "awareness of German national history and the responsibility that comes with it."

According to the foundation's management, which notified the British artist via email last Sunday about the withdrawal of the prize, his signature supporting a cultural boycott against Israel stands in complete opposition to the cultural institution's worldview. The foundation's leadership stated, "We naturally respect the right to express political positions and understand this is not antisemitism, but the foundation cannot support or be associated with calls for the cultural isolation of Israel."

The foundation's decision referenced the recent German parliament resolution against antisemitism. This resolution conveys the message that "Never again is now: Jewish life in Germany must be protected, preserved, and strengthened." The initiative, unusually uniting coalition and opposition members, passed a set of principles to protect Jewish life in the country.

The proposal also addressed the cultural and arts world, drawing protests from artists who worried that criticism of Israel would be automatically interpreted as antisemitism – potentially limiting freedom of expression. Nevertheless, the decision passed several weeks ago appears to be quickly influencing the cultural sphere, which until recently had been fertile ground for antisemitic expressions, often in the name of artistic freedom.

The British artist, who just lost a substantial monetary prize and international recognition for his work, responded angrily, saying, "Even if they're unwilling to state it openly, the decision is a despicable accusation of antisemitism." Bridle, who had previously created artworks criticizing Israel, also took a jab at the German institution's past, as the Schelling Foundation is named after architect Erich Schelling, whose work during the National Socialist period repeatedly sparked public controversy. In 1933, he joined Nazi organizations, including the SA, and was also a member of the NSDAP.

The foundation's decision comes just days after a German court fined a German-Muslim art curator for posting content praising the October 7 massacre.

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A new report has uncovered disturbing findings in one of Switzerland's most prestigious art collections, suggesting that dozens of works may have been looted from Jewish owners during the Holocaust. The investigation into the Bührle Collection has reignited debates about the ethical responsibilities of museums and collectors in addressing the complex legacy of Nazi-era art theft.

A report led by German historian Raphael Gross has found that dozens of artworks displayed as part of the Bührle Collection, one of Switzerland's most esteemed art collections, likely originated from Jewish art collections plundered by the Nazis during the Holocaust.

Swiss Museum Removes Nazi-Looted Art

Kunsthaus Zurich is removing five paintings amid suspicions they were looted by Nazis. The works, part of the Emil Bührle Collection, include pieces by Monet, Van Gogh, Courbet, Toulouse-Lautrec, and Gauguin. Emil Bührle, an arms dealer… pic.twitter.com/POglGKuYbq

— Global (@globevids) June 15, 2024

 The report concluded that the collection's curators did not do enough to investigate the origins of the works. Gross stated that while the Bührle Family Foundation, responsible for the collection, conducted extensive research, it did not meet the standards set by Swiss authorities and the Kunsthaus Zurich, where the collection is exhibited. Gross determined that the foundation did not take adequate measures to ensure that works with indications of having been owned by "people persecuted by Nazi Germany" were excluded from display.

The investigation led by Gross's committee identified 62 works out of 205 that may have been stolen from Jews during World War II. This report not only confirms accusations against the Bührle Foundation that emerged three years ago but also significantly expands the scope of suspicions.

The Swiss newspaper Neue Zürcher Zeitung alleges that the collection's creator, local tycoon Emil Bührle, was notorious for his unscrupulous methods of acquiring artworks, including purchasing entire collections from German citizens during World War II. Gross emphatically stated, "Without the Jewish collections, or to phrase it differently, without the persecution of Jews, this collection would never have been created."

An independent report finds the Bührle Foundation's provenance research on its collection on show at the Zurich Kunsthaus is "inadequate" and that the former Jewish owners of many works are omitted from its published findings. https://t.co/nW3yMRh99t

— Catherine Hickley (@CathyHickley) June 28, 2024

 The report reveals that industrialist Emil Bührle amassed his fortune by selling weapons to Nazi Germany and profited from the forced labor of women in concentration camps. Between 1936 and 1956, Bührle built his exceptional art collection, comprising about 600 works by renowned artists. This period coincided with a time when the art market was flooded with paintings stolen from Jewish collectors or sold far below their value under duress.

Gideon Taylor, President of the World Jewish Restitution Organization (WJRO), which spearheads international efforts on this issue, called for action: "We urge other institutions to follow Zurich's example and adopt the working methods on looted art that we published in March in collaboration with the US State Department." Taylor emphasized, "The importance of the struggle to return looted art lies in restoring cultural heritage and honoring those affected by the Holocaust, while ensuring that these valuable items are returned to their rightful owners. This report further underscores the need for ongoing examination and the establishment of a dedicated committee to ensure justice is served."

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Zurich's prestigious Kunsthaus Zurich art museum has announced the temporary removal of five paintings from its ongoing exhibition showcasing the Emil Bührle Collection. This decision comes as the institution investigates potential links between these artworks and Nazi-era looting during World War II.

The collection, named after German-born Swiss industrialist Emil Bührle, has long faced scrutiny regarding the provenance of its holdings. Bührle amassed a vast collection of approximately 600 artworks, many of which were acquired during the war years when the Nazis systematically plundered cultural treasures across Europe.

The artworks under investigation include renowned masterpieces such as Claude Monet's "Jardin de Monet à Giverny," Gustave Courbet's "Portrait of the Sculptor Louis-Joseph," Henri de Toulouse-Lautrec's "Georges-Henri Manuel," Vincent van Gogh's "The Old Tower," and Paul Gauguin's "La route montante."

In a statement, the foundation board overseeing the Emil Bührle Collection expressed its commitment to "seeking a fair and equitable solution for these works with the legal successors of the former owners, following best practices." According to Stuart Eizenstat, the US Secretary of State's special advisor on Holocaust issues, it is estimated that over 100,000 paintings and countless other cultural objects stolen during the Nazi era have yet to be returned to their rightful owners or heirs.

The decision to temporarily remove the paintings follows the publication of new guidelines aimed at addressing the persistent issue of unreturned cultural property stolen during the Nazi regime. These guidelines were developed by the US State Department to mark the 25th anniversary of the 1998 Washington Conference Principles, which outlined a framework for the restitution of Nazi-confiscated art.

While the foundation board acknowledged the potential application of these guidelines to the five artworks in question, it stated that a sixth work from the collection, Edouard Manet's "La Sultane," would be considered separately. The foundation expressed willingness to offer financial compensation to the estate of Max Silberberg, a German Jewish industrialist whose extensive art collection was forcibly auctioned by the Nazis before his murder at the Auschwitz death camp.

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A new photo exhibition called "On the Road" is currently on display within the Gush Etzion community of Tekoa's Artists' Colony.

The exhibition, organized by the area's "Resilience Center" (Mercaz Hosen), highlights the complex realities of traveling on the roads in the area.

According to a statement, "The week-long exhibit is featuring photos taken by residents of Karmei Tzur, Ibei Hanachal, and Pnei Kedem, who took part in a workshop held by renowned photographer Meir Alipur and psychologist Einat Landskron, who serves a therapist. The photos reflect the reality on the area roads, in the eyes of the photographers."

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Unfortunately, the residents of Gush Etzion often traverse the beautiful roads in the area with trepidation and are seen by drivers and passengers through protected windows as a result of hostile attacks in the area.

The "On the Road" photo exhibition was created with a desire to give the residents who live in remote communities a chance to express themselves, as they travel to and from work on a daily basis, often with the fear of being targeted, which causes feelings of stress and insecurity.

Alipur and Landskron allowed participants to view their experience on these familiar roads in a different way, and to explore the beauty they see during their times of added vigilance.

Commenting on the exhibit, Gush Etzion Regional Council Head, and Yesha Council Chairman Shlomo Ne'eman said: "One of the ways to create resilience is through art, which both expands the mind and allows us to deal with reality. We see here a collaboration between the Resilience Center and the unique Artists' Colony in Tekoa, and we applaud the initiative."

Dr. Rachel Naumberg, head of the Resilience Center said: "By connecting to art in general and the world of photography in particular, we wanted to offer the residents additional perspectives on observing the paths they take every day. All of this is of course was only possible with the help of a military escort, which illustrates the inability to feel safe stopping on the sides of the road. Our Resilience Center works in different ways to strengthen the ability to cope and provide a sense of security and resilience among all our residents."

Na'ama Lahav, the curator of the exhibition, said: "The photographs hanging in the exhibition are equivalent to small open windows, and the goal is to give visitors the opportunity that the participants of the workshops had - to get out of the car freely, and touch the stones of the area, the plants, the people, and the landscapes."

She added: "Each photo is another step towards healing, both for the photographer, or the visitor, who will be able to see things differently, the next time they approach the spot where the photo was taken."

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