“Face to Face with Death. Hugo van der Goes, Old Masters, New Looks” at Sint-Janshospitaal in Bruges is open for visitors until February 5th, 2023.
“We don’t need any more evil in the world. We need a lot more reckoning with it.”
The EU’s business model has been to put the age-old laws of politics to the test, argues Stefan Auer in his latest book. To survive, it needs to heed them instead.
Erdoğan either has the best of intentions for Turkey or is simply in love with power. The fact that he has altered the presidential voting system and extended his term of office in the process suggest the latter.
London’s National Gallery ventured to assemble what it described as the first exhibition outside Italy “to encompass all aspects of Raphael’s artistic activity across his career.”
In France, Jews and Arabs have been drifting apart over the past 50 years. A Paris exhibition commissioned by one of the country’s leading historians hoped to build bridges.
The movie is about aviators flying jets, success and failure, personal struggle in the face of obstacles, facing ghosts of the past, family, and ultimately about pushing oneself to the limits. Period.
When we find ourselves at an impasse, it can be very helpful to look to great figures from history for guidance. Today, we could learn a thing or two about cultivating political culture from a universally-known but rarely studied figure, Charles the Great, or Charlemagne.
Reagan’s election would be the ultimate test of the so-called Evans’ law: “whenever one of our people reaches a position of power where he can do us some good, he ceases to be one of our people.”
Richard de Sèze’s brilliant and light pen swirls around the impressions of everyday life to give us a delicious panorama of things that pass and things that do not.
Although the book is properly a mosaic of voices— two personalities dominate, both on the battlefield and in the documentation. The first is the heroic Christian military commander Hunyadi. The second figure is far less remembered today, the Franciscan friar Saint John of Capistrano, sometimes called the Soldier Saint although the only “weapons” he carried were a crucifix and a banner.
Warlikowski’s productions tend toward the visceral. His exploration of the opera’s mythological content led him to profound meditations on the fluidity of space and time, of the real and the unreal.
