Latest news with #Surrealist
Time of India
7 days ago
- Entertainment
- Time of India
Shakespeare meets Surrealism in Dalí works at Victoria Memorial
On May 16, International Museum Day, the Victoria Memorial museum brought out twin rare gems from its formidable collection of art — two Salvador Dalí colour etchings from his Macbeth series, originally created in 1946 as illustrations for William Shakespeare's play. Dalí details You Can Also Check: Kolkata AQI | Weather in Kolkata | Bank Holidays in Kolkata | Public Holidays in Kolkata These two small, pencil-signed works, printed from copper plates onto Japanese rice paper, complete with cotton threads, were donated to the Victoria Memorial in 1990 by Kolkata-born, US-based artist Bimal Banerjee, who had received them directly from Dalí in 1972. These are the only original Dalí etchings currently held by any Indian museum. Showcased in the ongoing exhibition as 'Objects of the Month', this is only the third time in 32 years that the two Dali etchings have been put on public display. They were briefly displayed in 1993 after the donation, shown in 2014 and are currently on view at the Central Hall (Queen's Hall). "It is exciting to know that the Victoria Memorial Museum is currently showing two etchings. These two works hold unique characteristics of Dali's style; students, art enthusiasts, and scholars will surely enjoy experiencing these two original Dali prints within the museum context," said Susanta Mandal, artist and professor of fine arts. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Why seniors are rushing to get this Internet box – here's why! Techno Mag Learn More Undo Officially listed in the Victoria Memorial's collection as R7695 and R7696, the etchings will be on display through July 2025. Surrealism meets Shakespeare Although untitled, experts have often attributed both etchings to the 'Witches' Cauldron' scene in Macbeth (Act IV, Scene I). Dalí created a set of 12 illustrations for Shakespeare's tragedy, often featuring recurring symbols from his individual Surrealist style that signal psychological themes, particularly in key dramatic moments like the witches' cauldron scene. One exhibited etching is believed to depict Macbeth confronting the witches. The presence of a key — a recurrent Dalí motif that represents unlocking the mind (and sometimes the sexual unconscious — highlights Macbeth's moral and psychological dilemma. First shown in 1946, the set of Dalí's Macbeth etchings had prompted The New York Times reviewer W. Gibbs to describe the series as 'one of the season's most provocative works of art', praising the Spanish master's strong pen-and-ink control, complemented by melting, dreamlike distortions. In 1946, as now, his fantastically odd combination of classical and Surrealist imagery both fascinated and unsettled audiences. "The twin Dalis at Victoria are a must see - simply because they are there, just like Mount Everest. Dali offers massive entertainment from inside as well as around his creations. He was a master exhibitionist who loved to create stir by any means. If you put these two names, Macbeth and Dali, side by side, controversy is a given! I am eager to witness his wicked satire, live in Kolkata," said Suvamoy Mitra, author, illustrator and photographer. Kolkata's rich art repository Along with the Dalí's, on display at the Victoria Memorial are one of the largest collections of aquatints and watercolours by English uncle-and-nephew duo Thomas and William Daniell from the British colonial period. Their work remains among the most important visual records of India under the East India Company, capturing architecture, landscapes, and people in 18th and 19th century India, with both artistic elegance and documentary precision. There are also works by Johann Zoffany, Samuel Davis and Vassili Vereshchagin's The State Procession of the Prince of Wales into Jaipur, 1876 , a monumental oil painting (~7 × 5 m), the third largest canvas in the collection. Tips for appreciating the etchings Bring a magnifier (if allowed): This could help spot delicate details — threads on Japanese paper, pencil signatures, and the fine lines of Dalí's draftsmanship Focus on surreal motifs: Keys, distorted forms, ambiguous space — all indicate deeper psyche themes. Observe how Dalí reinterprets Shakespeare through Surrealism Contextualise with text: Try reading the relevant Macbeth scene (Act IV, Scene I, 'Witches' Cauldron') beforehand to align Shakespeare's emotional tone with Dalí's visuals
Yahoo
10-07-2025
- Entertainment
- Yahoo
Schiaparelli's Beating Heart Necklace Goes Viral on Social Media After Paris Debut
Schiaparelli's beating heart necklace has turned into a pulse-pounding viral sensation. Created by Daniel Roseberry and unveiled during the fashion house's fall 2025 couture show on Monday, the standout jewelry piece has conquered social media's attention. A post by Roseberry on Instagram has garnered more than 5.7 million views in 24 hours, with his followers praising the creation as 'beautiful' and 'haunting.' On TikTok, fashion enthusiasts are creating multiple videos praising the piece, with one, posted by @houseofhithesh, quickly earning 2 million views. Shaped like a human heart and engineered to actually beat, the Schiaparelli necklace created a dramatic and surreal effect on the runway, where it was showcased by a model wearing a backward red dress. The surrealist piece draws inspiration from Salvador Dalí's legacy, a tradition that started with the brand's founder, Elsa Schiaparelli. More specifically, the necklace references Dalí's 1953 'Royal Heart' art piece. Currently displayed at the Dalí Theatre and Museum in Figueres, Spain, the 'Royal Heart' features mechanical elements making the piece contract and pulsate like a living heart, similar to Roseberry's necklace. In his fall 2025 couture collection, titled 'Back to the Future,' Roseberry also paid homage to Dalí's 'The Eye of Time' brooch from 1949, creating a dress featuring realistic eye motifs. Salvador Dalí was one of Elsa Schiaparelli's closest collaborators and helped her revolutionize the language of fashion with her Surrealist designs. Together, they crafted a compact with an enamel lid that resembled a telephone dial, as well as the 1937 shoe hat, which resembled an upside-down shoe, among other pieces. Roseberry purposefully looked back at Elsa Schiaparelli's inter-war era to create his latest collection. 'There's something about that era that felt mournful and also turbocharged at the same time,' he told WWD backstage after the show. Part of the work created by Dalí and Schiaparelli is showcased in Michèle Gerber Klein's new book, 'Surreal: The Extraordinary Life of Gala Dalí,' which offers a closer look at Gala Dalí, Salvador Dalí's wife, and her influence on his work. View Gallery Launch Gallery: Schiaparelli Fall 2025 Couture Best of WWD 'Project Runway' Winners: Where Are They Now? Superfake Rolexes Are Getting Smarter: How to Spot Counterfeit Timepieces in the Luxury Watch Market Stores Closing in the U.S. in 2025: Joann, Kohl's, JCPenney and More Companies Facing Financial Challenges
Business Wire
03-06-2025
- Business
- Business Wire
'This Is Not a Farm': Farmers Call out €386bn EU Policy as Small Farms Vanish
BRUSSELS--(BUSINESS WIRE)--A series of Magritte-inspired Surrealist artwork appeared outside the European Parliament – confronting policymakers with a visual warning about the future of farming in Europe, and a call to align the EU's €386 billion farm subsidy system with the Green Deal. WeMove Europe, the independent campaign group made up of more than 750,000 people across Europe behind the stunt, have called for urgent CAP reform — demanding fairer subsidies, stronger market regulation, and greater support for sustainable, small-and medium-sized farms. The action is backed by a coalition of farmer groups, environmental organisations and over 100,000 citizens across Europe. They argue the current subsidy system rewards intensive agriculture at the expense of small and sustainable farms. Share The action is backed by a coalition of farmer groups, environmental organisations and over 100,000 citizens across Europe. They argue the current subsidy system rewards intensive agriculture at the expense of small and sustainable farms. More than five million farms have disappeared across the EU since 2005, while 80% of CAP funds go to just 20% of recipients. Polling released earlier this year shows up to 70% of farmers in Spain, Italy and Poland feel forgotten by policymakers — despite most expressing pride in their work and support for environmental action. Morgan Ody, a vegetable producer from Bretagne, France, and member of European Coordination Via Campesina (ECVC), says: 'Alongside ensuring fair prices, a strong CAP budget is essential to tackle the challenges farmers face today. But that public money must be used to keep rural areas alive by regulating markets and supporting the transition to agroecology and more sustainable food systems – not to fuel the industrialisation of farming or line shareholders' pockets.' Styled in homage to Magritte's famous 'Treachery of Images', the artworks unveiled carry captions such as 'Ceci n'est pas une pomme' and 'Ceci n'est pas une ferme'. Their message: Europe's farm policy no longer feeds people — it feeds corporate consolidation. The full collection is viewable at The aim is to challenge outdated 'postcard' perceptions of farming — and spark honest discussion among policymakers about who the current system really serves. In many European areas, one in three farms has ceased operations, while subsidised overproduction drives prices so low that some farmers earn less than it costs them to produce. In France and Spain, for example, milk is often sold below production cost — a market failure propped up by the CAP. Giulio Carini, communications manager at WeMove Europe says: 'Our farming system is rigged. Small farmers are being pushed off the land while agribusiness giants cash in on public money. Discussions about the future of the CAP need to address what we are paying for, not just how much money is allocated to it. We need to support farmers and reward them for protecting our nature and climate, on which they rely. We're calling on people across Europe to stand up for fair prices, healthy food, and a future where small sustainable farmers and nature can thrive. This is our moment to demand our EU leaders fix this broken system.' In full, the coalition is calling for: Fair prices for farmers that reflect the full cost of sustainable food production Stronger market regulation, including supply management and minimum price guarantees Greater support for small and medium-sized farms over industrial agribusiness A just transition to agroecology to protect soil health, climate, biodiversity, and food sovereignty Access to healthy, sustainable food for all, ensuring that good food is affordable and available, and that people can make real choices about what they eat, without hidden environmental or health costs. These reforms are essential not only for securing farmers' futures, but also for delivering on the EU Green Deal — ensuring that Europe's food system supports climate, nature and communities alike. People across Europe can urge the EU to act by signing the petition at
Yahoo
03-06-2025
- Business
- Yahoo
"This Is Not a Farm": Farmers Call out €386bn EU Policy as Small Farms Vanish
Farmers across the EU have pledged their support for This is Not a Farm, a campaign petitioning the EU for reforms to the Common Agricultural Policy (CAP) Research shows up to 70% of farmers across key EU states say they feel forgotten, disrespected or unrecognised — despite being core to Europe's food system WeMove Europe and small and pioneering farmers' groups are urging citizens of the EU to sign a petition ahead of key CAP talks BRUSSELS, June 03, 2025--(BUSINESS WIRE)--A series of Magritte-inspired Surrealist artwork appeared outside the European Parliament – confronting policymakers with a visual warning about the future of farming in Europe, and a call to align the EU's €386 billion farm subsidy system with the Green Deal. WeMove Europe, the independent campaign group made up of more than 750,000 people across Europe behind the stunt, have called for urgent CAP reform — demanding fairer subsidies, stronger market regulation, and greater support for sustainable, small-and medium-sized farms. The action is backed by a coalition of farmer groups, environmental organisations and over 100,000 citizens across Europe. They argue the current subsidy system rewards intensive agriculture at the expense of small and sustainable farms. More than five million farms have disappeared across the EU since 2005, while 80% of CAP funds go to just 20% of recipients. Polling released earlier this year shows up to 70% of farmers in Spain, Italy and Poland feel forgotten by policymakers — despite most expressing pride in their work and support for environmental action. Morgan Ody, a vegetable producer from Bretagne, France, and member of European Coordination Via Campesina (ECVC), says: "Alongside ensuring fair prices, a strong CAP budget is essential to tackle the challenges farmers face today. But that public money must be used to keep rural areas alive by regulating markets and supporting the transition to agroecology and more sustainable food systems – not to fuel the industrialisation of farming or line shareholders' pockets." Styled in homage to Magritte's famous 'Treachery of Images', the artworks unveiled carry captions such as "Ceci n'est pas une pomme" and "Ceci n'est pas une ferme". Their message: Europe's farm policy no longer feeds people — it feeds corporate consolidation. The full collection is viewable at The aim is to challenge outdated "postcard" perceptions of farming — and spark honest discussion among policymakers about who the current system really serves. In many European areas, one in three farms has ceased operations, while subsidised overproduction drives prices so low that some farmers earn less than it costs them to produce. In France and Spain, for example, milk is often sold below production cost — a market failure propped up by the CAP. Giulio Carini, communications manager at WeMove Europe says: "Our farming system is rigged. Small farmers are being pushed off the land while agribusiness giants cash in on public money. Discussions about the future of the CAP need to address what we are paying for, not just how much money is allocated to it. We need to support farmers and reward them for protecting our nature and climate, on which they rely. We're calling on people across Europe to stand up for fair prices, healthy food, and a future where small sustainable farmers and nature can thrive. This is our moment to demand our EU leaders fix this broken system." In full, the coalition is calling for: Fair prices for farmers that reflect the full cost of sustainable food production Stronger market regulation, including supply management and minimum price guarantees Greater support for small and medium-sized farms over industrial agribusiness A just transition to agroecology to protect soil health, climate, biodiversity, and food sovereignty Access to healthy, sustainable food for all, ensuring that good food is affordable and available, and that people can make real choices about what they eat, without hidden environmental or health costs. These reforms are essential not only for securing farmers' futures, but also for delivering on the EU Green Deal — ensuring that Europe's food system supports climate, nature and communities alike. People across Europe can urge the EU to act by signing the petition at View source version on Contacts info@
Yahoo
08-05-2025
- Business
- Yahoo
These women sold thousands worth of designer clothing to a Vogue-backed NYC consignment shop — and say they never got paid or saw them again
Before deciding to sell her designer clothes, Monica Suk had barely heard of Dora Maar. Now, she wishes she never had — after the trendy NYC-based online luxury consignment shop went out of business, leaving her high and dry. The company and its founder and chief executive, Lauren Taylor Wilson, were once splashed across the pages of Vogue, Marie Claire, Women's Wear Daily, Forbes and The Wall Street Journal. Lilah Ramzi, an editor and fashion historian, and the style blogger Leandra Medine Cohen also helped promote the project, giving it additional heft — Rodarte and Markarian, who dressed Jill Biden for the 2021 inauguration, even teamed up with the trendy site to resell inventory. 'It looked legit, and it was cool,' Suk, a 36-year-old tech professional in Hong Kong, told The Post. Wilson, 35, brought major cred to the project, having previously held impressive positions at luxury platform Moda Operandi and in marketing at Christie's and Gucci before starting Dora Maar in 2019 to sell high-end fashion through community and storytelling and establish a provenance for each piece of clothing. Unlike competing consignment operations like The RealReal, Vestiaire Collective, Poshmark or Rebag, Dora Maar, named for the Surrealist photographer and onetime lover of Picasso, elevated its consignors to rock star status. The sellers, most of whom were micro-influencers Wilson called 'muses,' were highlighted on the website and on social media in magazine-worthy photographs, typically wearing the clothes they were selling. Many of them were stylists hawking their own services, and they welcomed the exposure and chance to promote their brands. When Suk turned to the company to off-load her estimated $16,000 worth of designer wares last year, a direct conversation with Brian Solis, Dora Maar's head of fashion, helped to put her at ease, as did emails with Solis and the team. 'They made it easy for me to sell my items,' she said — providing her with a DHL label and a set time to pick them up. Suk signed a lengthy contract about a month after and shipped two boxes of clothing — including a black Gabriela Hearst cashmere and silk dress, a Bottega Veneta poplin top, a Celine sweater and a pair of Chanel rubber rain boots — to the company's Brooklyn headquarters. Suk waited for payment, but claimed none came. At the end of July 2024, Suk received a mass email from Wilson informing her that as of early August, Dora Maar would cease business operations. The Post viewed the email in which Wilson wrote the decision was 'incredibly heartbreaking and painful for all of us.' The founder claimed the team took part-time pay cuts in the spring and she had 'barely taken a paycheck for over a year.' After an anticipated investment fell through over the summer, the shop had no choice but to shutter. Wilson said in a message that she was proud of the team, the muses and the 'relationships that were formed that became more than just a business, and more than a community,' she wrote. 'It became a DoMa family.' Wilson also acknowledged that it was her responsibility to try to make the muses 'whole,' but she couldn't guarantee that would happen. She asked sellers to let her know if they wanted their unsold items returned or if she should try to sell them with another resale platform. The website is still live, but no products are available for sale. Suk, who still hadn't received any commissions, sent Wilson an email on July 30 requesting payment for 22 items, which had sold for $3,626.65. Wilson assured Suk a week later that her leftover merchandise would be shipped back. 'As for the commissions, we are working on this through the closure and will follow up in due course,' she wrote in an email seen by The Post. Weeks later, Suk claimed she never received the money or the clothes. Worst, she claimed some of the prices on her pieces had been heavily discounted without her consent. In September 2024, after multiple attempts at getting a response from Wilson on her outstanding payments and giving her a deadline for rectifying the situation, Suk posted a video online, alleging her items were 'stolen,' and asked others to share their experiences. She received comments from more than 40 women for an estimated $25,000 in total. Some claimed they were invited to invest in the company; others claimed they were recruited in the months or weeks before Dora Maar announced its closing. Some sold clothing on behalf of their own clients, which meant they owed money elsewhere. One was told that a Dora Maar employee's mother had purchased her handbag; another said her items were bought by an employee. None of the women had been paid since April, they claimed — with insult added to injury as they watched Wilson post glamorous pictures from her European travels. Kate Easton, an actress in New York, is also waiting to get paid for her items. Easton, who declined to give her age, was asked to pose for a spring campaign to promote Dora Maar. 'The mutually agreed-upon terms were that they would sell my luxury items and I would receive commission for each of my items sold,' said Easton, who also posted on Instagram about Dora Maar events and clothing. Easton reached out many times over the next few months about the nonpayment and was eventually told that the company was shutting down and wouldn't be able to pay her commission from sales — nor were they able to return her sold items. 'It's disappointing and unfortunate that I was never paid for two of my luxury items that were sold on their site,' she said. ''Predatory' — that's the best word I can describe for what the experience was for me,' Clare Hardy, 39, said. Hardy added that Wilson messaged her online and invited her to become a muse in March. Hardy, who works at a large tech conglomerate and runs a website called The Haute Lady, was just starting out in the luxury resale space and was flattered that someone of Wilson's stature deemed her muse-worthy. 'I was blown away that a very small, brand-new creator like me would even get that type of attention,' Hardy said. 'The thought was, 'Oh, I was handpicked to be a muse.' It was very alluring.' She assembled about 15 items, shelled out roughly $2,000 on a photo shoot of her wearing them and sent everything from her home in Atlanta to New York. 'It's like I was targeted because I was a new creator who didn't know what the heck she was doing,' said Hardy, who has not been repaid the $4,000 she estimates she is owed. (She did receive her unsold clothes, minus an Hermès bracelet.) Natalia Zemliakova, a stylist in New York who declined to give her age, was also 'discovered' by Dora Maar on Instagram in late March. Like other women, she appreciated the company's ethos. 'With The RealReal, it's so impersonal,' Zemliakova said. 'You basically send your clothes to a warehouse, and they don't communicate with you. They don't tell you how much they will pay — you just ship it, and they decide everything on their own.' But this was different. Zemliakova sent about 15 pieces, including a vintage Yves Saint Laurent jacket. 'I warned them, 'If you guys sell it for a super low price, just tell me because I'd rather keep it,'' she said. Dora Maar seemed to understand the emotional turmoil that often accompanies closet evacuation, and the company promised to adhere to her request — which, she said, they did. But she says she is still owed $1,000 for three items that sold. 'It's almost an emotional betrayal,' Zemliakova said. 'They were selling these clothes, and the person who bought them basically paid for the thing, right? They were supposed to take 50 percent, and 50 percent goes to me. So why can't they pay for it?' Neither Wilson nor her lawyer, Daniel Weberman, responded to questions. Solis declined to comment. According to a report by Bain & Company, in 2024 the global secondhand luxury goods market grew to an estimated €48 billion (more than $50 billion), outpacing the sales of new luxury goods. The online second-hand market accounts for approximately 50% of the total secondhand market. But it's not regulated. John Breyault, a fraud expert with consumer advocacy organization the National Consumers League, said it was difficult to say if anything illegal took place. 'If they promised a lot of things and didn't deliver on them over a sustained period of time, or they were not upfront about what would happen if the company went out of business, that could be something I would expect an attorney general to look at,' he said. Suk said she was blocked by Wilson's personal account after posting the video and hopes to prevent others from falling victim to what she called an 'irresponsible entrepreneur.' 'Her point to people was, 'We're a small company, and there are risks,'' Suk said. 'No! That's something you tell your investors, not your sellers. Don't use the terms 'sustainability' and 'community' — especially when you're going to end up exploiting that community.'
