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.gelicon--mail, .gelicon--location, .gelicon--load, .gelicon--settings, .gelicon--embed, .gelicon--external, .gelicon--traffic, .gelicon--refresh, .gelicon--link, .gelicon--point, .gelicon--upload, .gelicon--download, .gelicon--finder, .gelicon--stations, .gelicon--untitled, .gelicon--untitled-2, .gelicon--quote, .gelicon--calendar-30, .gelicon--download-desktop, .gelicon--map, .gelicon--previous-alternative, .gelicon--next-alternative, .gelicon--arrow-down { font-family: 'gelicons-core' !important; } /* Begin Icons */ .gelicon--iplayer::before { content: '\e000'; } .gelicon--iplayer-radio::before { content: '\e001'; } .gelicon--previous::before { content: '\e002'; } .gelicon--up::before { content: '\e003'; } .gelicon--down::before { content: '\e004'; } .gelicon--next::before { content: '\e005'; } .gelicon--tobottom::before { content: '\e006'; } .gelicon--totop::before { content: '\e007'; } .gelicon--zoomin::before { content: '\e008'; } .gelicon--zoomout::before { content: '\e00a'; } .gelicon--search::before { content: '\e009'; } .gelicon--print::before { content: '\e00b'; } .gelicon--print-invert::before { content: '\e00c'; } .gelicon--yes::before { content: '\e00d'; } .gelicon--no::before { content: '\e00e'; } .gelicon--add::before { content: '\e00f'; } .gelicon--help::before { content: '\e010'; } .gelicon--info::before { content: '\e011'; } .gelicon--alert::before { content: '\e012'; } .gelicon--expires::before { content: '\e013'; } .gelicon--duration::before { content: '\e014'; } .gelicon--alarm::before { content: '\e015'; } .gelicon--countdown::before { content: '\e016'; } .gelicon--grid::before { content: '\e017'; } .gelicon--chapters::before { content: '\e018'; } .gelicon--list::before { content: '\e019'; } .gelicon--listthumb::before { content: '\e01a'; } .gelicon--lock::before { content: '\e01b'; } .gelicon--unlock::before { content: '\e01c'; } .gelicon--home::before { content: '\e01d'; } .gelicon--new::before { content: '\e01e'; } .gelicon--vocab::before { content: '\e01f'; } .gelicon--degraded::before { content: '\e020'; } .gelicon--calendar-mini::before { content: '\e021'; } .gelicon--calendar::before { content: '\e022'; } .gelicon--mail::before { content: '\e023'; } .gelicon--location::before { content: '\e024'; } .gelicon--load::before { content: '\e025'; } .gelicon--settings::before { content: '\e026'; } .gelicon--embed::before { content: '\e027'; } .gelicon--external::before { content: '\e028'; } .gelicon--traffic::before { content: '\e029'; } .gelicon--refresh::before { content: '\e02a'; } .gelicon--link::before { content: '\e02b'; } .gelicon--point::before { content: '\e02c'; } .gelicon--upload::before { content: '\e02d'; } .gelicon--download::before { content: '\e02e'; } .gelicon--finder::before { content: '\e02f'; } .gelicon--stations::before { content: '\e030'; } .gelicon--untitled::before { content: '\42'; } .gelicon--untitled-2::before { content: '\43'; } .gelicon--quote::before { content: '\22'; } .gelicon--playlister-add::before { content: '\e031'; } .gelicon--calendar-30::before { content: '\e032'; } .gelicon--download-desktop::before { content: '\e033'; } .gelicon--map::before { content: '\e034'; } .gelicon--previous-alternative::before { content: '\e035'; } .gelicon--next-alternative::before { content: '\e036'; } .gelicon--arrow-down::before { content: '\e038'; } /* Media icons */ .gelicon--menu, .gelicon--live, .gelicon--subtitles, .gelicon--ws, .gelicon--sd, .gelicon--hd, .gelicon--bsl, .gelicon--ad, .gelicon--3d, .gelicon--tv, .gelicon--radio, .gelicon--mobile, .gelicon--desktop, .gelicon--game, .gelicon--tablet, .gelicon--quiz, .gelicon--guidance, .gelicon--record, .gelicon--listen, .gelicon--play, .gelicon--pause, .gelicon--rewind, .gelicon--forward, .gelicon--restart, .gelicon--image, .gelicon--document, .gelicon--slideshow, .gelicon--activity, .gelicon--360, .gelicon--podcast, .gelicon--newsletter, .gelicon--rss, .gelicon--fullscreen, .gelicon--expand, .gelicon--popout, .gelicon--mute, .gelicon--music-on, .gelicon--music-off, .gelicon--windows, .gelicon--apple, .gelicon--interactive { font-family: 'gelicons-media' !important; } /* Begin Icons */ .gelicon--menu::before { content: '\e900'; } .gelicon--live::before { content: '\e100'; } .gelicon--subtitles::before { content: '\e101'; } .gelicon--ws::before { content: '\e102'; } .gelicon--sd::before { content: '\e103'; } .gelicon--hd::before { content: '\e104'; } .gelicon--bsl::before { content: '\e105'; } .gelicon--ad::before { content: '\e106'; } .gelicon--3d::before { content: '\e107'; } .gelicon--tv::before { content: '\e108'; } .gelicon--radio::before { content: '\e109'; } .gelicon--mobile::before { content: '\e10a'; } .gelicon--desktop::before { content: '\e10b'; } .gelicon--game::before { content: '\e10c'; } .gelicon--tablet::before { content: '\e10d'; } .gelicon--quiz::before { content: '\e10e'; } .gelicon--guidance::before { content: '\e10f'; } .gelicon--record::before { content: '\e110'; } .gelicon--listen::before { content: '\e111'; } .gelicon--play::before { content: '\e112'; } .gelicon--pause::before { content: '\e113'; } .gelicon--rewind::before { content: '\e114'; } .gelicon--forward::before { content: '\e115'; } .gelicon--restart::before { content: '\e116'; } .gelicon--image::before { content: '\e117'; } .gelicon--document::before { content: '\e118'; } .gelicon--slideshow::before { content: '\e119'; } .gelicon--activity::before { content: '\e11a'; } .gelicon--360::before { content: '\e11b'; } .gelicon--podcast::before { content: '\e11c'; } .gelicon--newsletter::before { content: '\e11d'; } .gelicon--rss::before { content: '\e11e'; } .gelicon--fullscreen::before { content: '\e11f'; } .gelicon--expand::before { content: '\e120'; } .gelicon--popout::before { content: '\e121'; } .gelicon--mute::before { content: '\e122'; } .gelicon--music-on::before { content: '\e123'; } .gelicon--music-off::before { content: '\e124'; } .gelicon--windows::before { content: '\e125'; } .gelicon--apple::before { content: '\e126'; } .gelicon--interactive::before { content: '\e900'; } /* Social Icons */ .gelicon--share, .gelicon--recommend, .gelicon--comments, .gelicon--blog, .gelicon--smiley, .gelicon--love, .gelicon--twitter, .gelicon--facebook, .gelicon--google-plus, .gelicon--google, .gelicon--spotify, .gelicon--pinterest, .gelicon--tumblr, .gelicon--stumbleupon, .gelicon--linkedin, .gelicon--reddit, .gelicon--digg, .gelicon--instagram, .gelicon--whatsapp { font-family: 'gelicons-social' !important; } /* GEL */ .gelicon--share::before { content: '\e200'; } .gelicon--recommend::before { content: '\e201'; } .gelicon--comments::before { content: '\e202'; } .gelicon--blog::before { content: '\e203'; } .gelicon--smiley::before { content: '\e204'; } .gelicon--love::before { content: '\e205'; } /* THIRD PARTY */ .gelicon--twitter::before { content: '\e300'; } .gelicon--facebook::before { content: '\e301'; } .gelicon--google-plus::before { content: '\e700'; } .gelicon--google::before { content: '\e701'; } .gelicon--spotify::before { content: '\e304'; } .gelicon--pinterest::before { content: '\e305'; } .gelicon--tumblr::before { content: '\e306'; } .gelicon--stumbleupon::before { content: '\e307'; } .gelicon--linkedin::before { content: '\e308'; } .gelicon--reddit::before { content: '\e309'; } .gelicon--digg::before { content: '\e30a'; } .gelicon--instagram::before { content: '\e30b'; } .gelicon--whatsapp::before { content: '\e600'; } .mapboxgl-map { font: 12px/20px Helvetica Neue,Arial,Helvetica,sans-serif; overflow: hidden; position: relative; -webkit-tap-highlight-color: rgba(0, 0, 0, 0); } .mapboxgl-canvas { position: absolute; left: 0; top: 0; } .mapboxgl-map:-webkit-full-screen { width: 100%; height: 100%; } .mapboxgl-canary { background-color: salmon; } .mapboxgl-canvas-container.mapboxgl-interactive, .mapboxgl-ctrl-group button.mapboxgl-ctrl-compass { cursor: -webkit-grab; cursor: grab; -moz-user-select: none; -webkit-user-select: none; -ms-user-select: none; user-select: none; } .mapboxgl-canvas-container.mapboxgl-interactive.mapboxgl-track-pointer { cursor: pointer; } .mapboxgl-canvas-container.mapboxgl-interactive:active, .mapboxgl-ctrl-group button.mapboxgl-ctrl-compass:active { cursor: -webkit-grabbing; cursor: grabbing; } .mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate, .mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate .mapboxgl-canvas { -ms-touch-action: pan-x pan-y; touch-action: pan-x pan-y; } .mapboxgl-canvas-container.mapboxgl-touch-drag-pan, .mapboxgl-canvas-container.mapboxgl-touch-drag-pan .mapboxgl-canvas { -ms-touch-action: pinch-zoom; touch-action: pinch-zoom; } .mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate.mapboxgl-touch-drag-pan, .mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate.mapboxgl-touch-drag-pan .mapboxgl-canvas { -ms-touch-action: none; touch-action: none; } .mapboxgl-ctrl-bottom-left, .mapboxgl-ctrl-bottom-right, .mapboxgl-ctrl-top-left, .mapboxgl-ctrl-top-right { position: absolute; pointer-events: none; z-index: 2; } .mapboxgl-ctrl-top-left { top: 0; left: 0; } .mapboxgl-ctrl-top-right { top: 0; right: 0; } .mapboxgl-ctrl-bottom-left { bottom: 0; left: 0; } .mapboxgl-ctrl-bottom-right { right: 0; bottom: 0; } .mapboxgl-ctrl { clear: both; pointer-events: auto; -webkit-transform: translate(0); transform: translate(0); } .mapboxgl-ctrl-top-left .mapboxgl-ctrl { margin: 10px 0 0 10px; float: left; } .mapboxgl-ctrl-top-right .mapboxgl-ctrl { margin: 10px 10px 0 0; float: right; } .mapboxgl-ctrl-bottom-left .mapboxgl-ctrl { margin: 0 0 10px 10px; float: left; } .mapboxgl-ctrl-bottom-right .mapboxgl-ctrl { margin: 0 10px 10px 0; float: right; } .mapboxgl-ctrl-group { border-radius: 4px; background: #fff; } .mapboxgl-ctrl-group:not(:empty) { -webkit-box-shadow: 0 0 2px rgba(0, 0, 0, 0.1); box-shadow: 0 0 0 2px rgba(0, 0, 0, 0.1); } @media (-ms-high-contrast: active) { .mapboxgl-ctrl-group:not(:empty) { -webkit-box-shadow: 0 0 0 2px ButtonText; box-shadow: 0 0 0 2px ButtonText; } } .mapboxgl-ctrl-group button { width: 29px; height: 29px; display: block; padding: 0; outline: none; border: 0; -webkit-box-sizing: border-box; box-sizing: border-box; background-color: transparent; cursor: pointer; } .mapboxgl-ctrl-group button + button { border-top: 1px solid #ddd; } .mapboxgl-ctrl button .mapboxgl-ctrl-icon { display: block; width: 100%; height: 100%; background-repeat: no-repeat; background-position: 50%; } @media (-ms-high-contrast: active) { .mapboxgl-ctrl-icon { background-color: transparent; } .mapboxgl-ctrl-group button + button { border-top: 1px solid ButtonText; } } .mapboxgl-ctrl button::-moz-focus-inner { border: 0; padding: 0; } .mapboxgl-ctrl-group button:focus { -webkit-box-shadow: 0 0 2px 2px #0096ff; box-shadow: 0 0 2px 2px #0096ff; } .mapboxgl-ctrl button:disabled { cursor: not-allowed; } .mapboxgl-ctrl button:disabled .mapboxgl-ctrl-icon { opacity: .25; } .mapboxgl-ctrl button:not(:disabled):hover { background-color: rgba(0, 0, 0, 0.05); } .mapboxgl-ctrl-group button:focus:focus-visible { -webkit-box-shadow: 0 0 2px 2px #0096ff; box-shadow: 0 0 2px 2px #0096ff; } .mapboxgl-ctrl-group button:focus:not(:focus-visible) { -webkit-box-shadow: none; box-shadow: none; } .mapboxgl-ctrl-group button:focus:first-child { border-radius: 4px 4px 0 0; } .mapboxgl-ctrl-group button:focus:last-child { border-radius: 0 0 4px 4px; } .mapboxgl-ctrl-group button:focus:only-child { border-radius: inherit; } .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-out .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M10 13c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h9c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-9z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-in .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M14.5 8.5c-.75 0-1.5.75-1.5 1.5v3h-3c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h3v3c0 .75.75 1.5 1.5 1.5S16 19.75 16 19v-3h3c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-3v-3c0-.75-.75-1.5-1.5-1.5z'/%3E%3C/svg%3E"); } @media (-ms-high-contrast: active) { .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-out .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M10 13c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h9c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-9z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-in .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M14.5 8.5c-.75 0-1.5.75-1.5 1.5v3h-3c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h3v3c0 .75.75 1.5 1.5 1.5S16 19.75 16 19v-3h3c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-3v-3c0-.75-.75-1.5-1.5-1.5z'/%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-out .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M10 13c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h9c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-9z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-in .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M14.5 8.5c-.75 0-1.5.75-1.5 1.5v3h-3c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h3v3c0 .75.75 1.5 1.5 1.5S16 19.75 16 19v-3h3c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-3v-3c0-.75-.75-1.5-1.5-1.5z'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl button.mapboxgl-ctrl-fullscreen .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M24 16v5.5c0 1.75-.75 2.5-2.5 2.5H16v-1l3-1.5-4-5.5 1-1 5.5 4 1.5-3h1zM6 16l1.5 3 5.5-4 1 1-4 5.5 3 1.5v1H7.5C5.75 24 5 23.25 5 21.5V16h1zm7-11v1l-3 1.5 4 5.5-1 1-5.5-4L6 13H5V7.5C5 5.75 5.75 5 7.5 5H13zm11 2.5c0-1.75-.75-2.5-2.5-2.5H16v1l3 1.5-4 5.5 1 1 5.5-4 1.5 3h1V7.5z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-shrink .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M18.5 16c-1.75 0-2.5.75-2.5 2.5V24h1l1.5-3 5.5 4 1-1-4-5.5 3-1.5v-1h-5.5zM13 18.5c0-1.75-.75-2.5-2.5-2.5H5v1l3 1.5L4 24l1 1 5.5-4 1.5 3h1v-5.5zm3-8c0 1.75.75 2.5 2.5 2.5H24v-1l-3-1.5L25 5l-1-1-5.5 4L17 5h-1v5.5zM10.5 13c1.75 0 2.5-.75 2.5-2.5V5h-1l-1.5 3L5 4 4 5l4 5.5L5 12v1h5.5z'/%3E%3C/svg%3E"); } @media (-ms-high-contrast: active) { .mapboxgl-ctrl button.mapboxgl-ctrl-fullscreen .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M24 16v5.5c0 1.75-.75 2.5-2.5 2.5H16v-1l3-1.5-4-5.5 1-1 5.5 4 1.5-3h1zM6 16l1.5 3 5.5-4 1 1-4 5.5 3 1.5v1H7.5C5.75 24 5 23.25 5 21.5V16h1zm7-11v1l-3 1.5 4 5.5-1 1-5.5-4L6 13H5V7.5C5 5.75 5.75 5 7.5 5H13zm11 2.5c0-1.75-.75-2.5-2.5-2.5H16v1l3 1.5-4 5.5 1 1 5.5-4 1.5 3h1V7.5z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-shrink .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M18.5 16c-1.75 0-2.5.75-2.5 2.5V24h1l1.5-3 5.5 4 1-1-4-5.5 3-1.5v-1h-5.5zM13 18.5c0-1.75-.75-2.5-2.5-2.5H5v1l3 1.5L4 24l1 1 5.5-4 1.5 3h1v-5.5zm3-8c0 1.75.75 2.5 2.5 2.5H24v-1l-3-1.5L25 5l-1-1-5.5 4L17 5h-1v5.5zM10.5 13c1.75 0 2.5-.75 2.5-2.5V5h-1l-1.5 3L5 4 4 5l4 5.5L5 12v1h5.5z'/%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl button.mapboxgl-ctrl-fullscreen .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M24 16v5.5c0 1.75-.75 2.5-2.5 2.5H16v-1l3-1.5-4-5.5 1-1 5.5 4 1.5-3h1zM6 16l1.5 3 5.5-4 1 1-4 5.5 3 1.5v1H7.5C5.75 24 5 23.25 5 21.5V16h1zm7-11v1l-3 1.5 4 5.5-1 1-5.5-4L6 13H5V7.5C5 5.75 5.75 5 7.5 5H13zm11 2.5c0-1.75-.75-2.5-2.5-2.5H16v1l3 1.5-4 5.5 1 1 5.5-4 1.5 3h1V7.5z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-shrink .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M18.5 16c-1.75 0-2.5.75-2.5 2.5V24h1l1.5-3 5.5 4 1-1-4-5.5 3-1.5v-1h-5.5zM13 18.5c0-1.75-.75-2.5-2.5-2.5H5v1l3 1.5L4 24l1 1 5.5-4 1.5 3h1v-5.5zm3-8c0 1.75.75 2.5 2.5 2.5H24v-1l-3-1.5L25 5l-1-1-5.5 4L17 5h-1v5.5zM10.5 13c1.75 0 2.5-.75 2.5-2.5V5h-1l-1.5 3L5 4 4 5l4 5.5L5 12v1h5.5z'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl button.mapboxgl-ctrl-compass .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M10.5 14l4-8 4 8h-8z'/%3E%3Cpath d='M10.5 16l4 8 4-8h-8z' fill='%23ccc'/%3E%3C/svg%3E"); } @media (-ms-high-contrast: active) { .mapboxgl-ctrl button.mapboxgl-ctrl-compass .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M10.5 14l4-8 4 8h-8z'/%3E%3Cpath d='M10.5 16l4 8 4-8h-8z' fill='%23999'/%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl button.mapboxgl-ctrl-compass .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M10.5 14l4-8 4 8h-8z'/%3E%3Cpath d='M10.5 16l4 8 4-8h-8z' fill='%23ccc'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate:disabled .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23aaa'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3Cpath d='M14 5l1 1-9 9-1-1 9-9z' fill='red'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-active .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%2333b5e5'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-active-error .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23e58978'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-background .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%2333b5e5'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-background-error .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23e54e33'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-waiting .mapboxgl-ctrl-icon { -webkit-animation: mapboxgl-spin 2s linear infinite; animation: mapboxgl-spin 2s linear infinite; } @media (-ms-high-contrast: active) { .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate:disabled .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23999'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3Cpath d='M14 5l1 1-9 9-1-1 9-9z' fill='red'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-active .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%2333b5e5'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-active-error .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23e58978'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-background .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%2333b5e5'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-background-error .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23e54e33'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate:disabled .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23666'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3Cpath d='M14 5l1 1-9 9-1-1 9-9z' fill='red'/%3E%3C/svg%3E"); } } @-webkit-keyframes mapboxgl-spin { 0% { -webkit-transform: rotate(0deg); } to { -webkit-transform: rotate(1turn); } } @keyframes mapboxgl-spin { 0% { -webkit-transform: rotate(0deg); transform: rotate(0deg); } to { -webkit-transform: rotate(1turn); transform: rotate(1turn); } } a.mapboxgl-ctrl-logo { width: 88px; height: 23px; margin: 0 0 -4px -4px; display: block; background-repeat: no-repeat; cursor: pointer; overflow: hidden; background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='88' height='23' viewBox='0 0 88 23' xmlns='http://www.w3.org/2000/svg' xmlns:xlink='http://www.w3.org/1999/xlink' fill-rule='evenodd'%3E%3Cdefs%3E%3Cpath id='a' d='M11.5 2.25c5.105 0 9.25 4.145 9.25 9.25s-4.145 9.25-9.25 9.25-9.25-4.145-9.25-9.25 4.145-9.25 9.25-9.25zM6.997 15.983c-.051-.338-.828-5.802 2.233-8.873a4.395 4.395 0 013.13-1.28c1.27 0 2.49.51 3.39 1.42.91.9 1.42 2.12 1.42 3.39 0 1.18-.449 2.301-1.28 3.13C12.72 16.93 7 16 7 16l-.003-.017zM15.3 10.5l-2 .8-.8 2-.8-2-2-.8 2-.8.8-2 .8 2 2 .8z'/%3E%3Cpath id='b' d='M50.63 8c.13 0 .23.1.23.23V9c.7-.76 1.7-1.18 2.73-1.18 2.17 0 3.95 1.85 3.95 4.17s-1.77 4.19-3.94 4.19c-1.04 0-2.03-.43-2.74-1.18v3.77c0 .13-.1.23-.23.23h-1.4c-.13 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height='100%25' fill='%23fff'/%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/mask%3E%3Cg opacity='.3' stroke='%23000' stroke-width='3'%3E%3Ccircle mask='url(%23c)' cx='11.5' cy='11.5' r='9.25'/%3E%3Cuse xlink:href='%23b' mask='url(/web/20220311183155im_/https://www.bbc.com/culture/columns/%23c)'/%3E%3C/g%3E%3Cg opacity='.9' fill='%23fff'%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/g%3E%3C/svg%3E"); } a.mapboxgl-ctrl-logo.mapboxgl-compact { width: 23px; } @media (-ms-high-contrast: active) { a.mapboxgl-ctrl-logo { background-color: transparent; background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='88' height='23' viewBox='0 0 88 23' xmlns='http://www.w3.org/2000/svg' xmlns:xlink='http://www.w3.org/1999/xlink' fill-rule='evenodd'%3E%3Cdefs%3E%3Cpath id='a' d='M11.5 2.25c5.105 0 9.25 4.145 9.25 9.25s-4.145 9.25-9.25 9.25-9.25-4.145-9.25-9.25 4.145-9.25 9.25-9.25zM6.997 15.983c-.051-.338-.828-5.802 2.233-8.873a4.395 4.395 0 013.13-1.28c1.27 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xmlns='http://www.w3.org/2000/svg' xmlns:xlink='http://www.w3.org/1999/xlink' fill-rule='evenodd'%3E%3Cdefs%3E%3Cpath id='a' d='M11.5 2.25c5.105 0 9.25 4.145 9.25 9.25s-4.145 9.25-9.25 9.25-9.25-4.145-9.25-9.25 4.145-9.25 9.25-9.25zM6.997 15.983c-.051-.338-.828-5.802 2.233-8.873a4.395 4.395 0 013.13-1.28c1.27 0 2.49.51 3.39 1.42.91.9 1.42 2.12 1.42 3.39 0 1.18-.449 2.301-1.28 3.13C12.72 16.93 7 16 7 16l-.003-.017zM15.3 10.5l-2 .8-.8 2-.8-2-2-.8 2-.8.8-2 .8 2 2 .8z'/%3E%3Cpath id='b' d='M50.63 8c.13 0 .23.1.23.23V9c.7-.76 1.7-1.18 2.73-1.18 2.17 0 3.95 1.85 3.95 4.17s-1.77 4.19-3.94 4.19c-1.04 0-2.03-.43-2.74-1.18v3.77c0 .13-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V8.23c0-.12.1-.23.23-.23h1.4zm-3.86.01c.01 0 .01 0 .01-.01.13 0 .22.1.22.22v7.55c0 .12-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V15c-.7.76-1.69 1.19-2.73 1.19-2.17 0-3.94-1.87-3.94-4.19 0-2.32 1.77-4.19 3.94-4.19 1.03 0 2.02.43 2.73 1.18v-.75c0-.12.1-.23.23-.23h1.4zm26.375-.19a4.24 4.24 0 00-4.16 3.29c-.13.59-.13 1.19 0 1.77a4.233 4.233 0 004.17 3.3c2.35 0 4.26-1.87 4.26-4.19 0-2.32-1.9-4.17-4.27-4.17zM60.63 5c.13 0 .23.1.23.23v3.76c.7-.76 1.7-1.18 2.73-1.18 1.88 0 3.45 1.4 3.84 3.28.13.59.13 1.2 0 1.8-.39 1.88-1.96 3.29-3.84 3.29-1.03 0-2.02-.43-2.73-1.18v.77c0 .12-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V5.23c0-.12.1-.23.23-.23h1.4zm-34 11h-1.4c-.13 0-.23-.11-.23-.23V8.22c.01-.13.1-.22.23-.22h1.4c.13 0 .22.11.23.22v.68c.5-.68 1.3-1.09 2.16-1.1h.03c1.09 0 2.09.6 2.6 1.55.45-.95 1.4-1.55 2.44-1.56 1.62 0 2.93 1.25 2.9 2.78l.03 5.2c0 .13-.1.23-.23.23h-1.41c-.13 0-.23-.11-.23-.23v-4.59c0-.98-.74-1.71-1.62-1.71-.8 0-1.46.7-1.59 1.62l.01 4.68c0 .13-.11.23-.23.23h-1.41c-.13 0-.23-.11-.23-.23v-4.59c0-.98-.74-1.71-1.62-1.71-.85 0-1.54.79-1.6 1.8v4.5c0 .13-.1.23-.23.23zm53.615 0h-1.61c-.04 0-.08-.01-.12-.03-.09-.06-.13-.19-.06-.28l2.43-3.71-2.39-3.65a.213.213 0 01-.03-.12c0-.12.09-.21.21-.21h1.61c.13 0 .24.06.3.17l1.41 2.37 1.4-2.37a.34.34 0 01.3-.17h1.6c.04 0 .08.01.12.03.09.06.13.19.06.28l-2.37 3.65 2.43 3.7c0 .05.01.09.01.13 0 .12-.09.21-.21.21h-1.61c-.13 0-.24-.06-.3-.17l-1.44-2.42-1.44 2.42a.34.34 0 01-.3.17zm-7.12-1.49c-1.33 0-2.42-1.12-2.42-2.51 0-1.39 1.08-2.52 2.42-2.52 1.33 0 2.42 1.12 2.42 2.51 0 1.39-1.08 2.51-2.42 2.52zm-19.865 0c-1.32 0-2.39-1.11-2.42-2.48v-.07c.02-1.38 1.09-2.49 2.4-2.49 1.32 0 2.41 1.12 2.41 2.51 0 1.39-1.07 2.52-2.39 2.53zm-8.11-2.48c-.01 1.37-1.09 2.47-2.41 2.47s-2.42-1.12-2.42-2.51c0-1.39 1.08-2.52 2.4-2.52 1.33 0 2.39 1.11 2.41 2.48l.02.08zm18.12 2.47c-1.32 0-2.39-1.11-2.41-2.48v-.06c.02-1.38 1.09-2.48 2.41-2.48s2.42 1.12 2.42 2.51c0 1.39-1.09 2.51-2.42 2.51z'/%3E%3C/defs%3E%3Cmask id='c'%3E%3Crect width='100%25' height='100%25' fill='%23fff'/%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/mask%3E%3Cg stroke='%23fff' stroke-width='3' fill='%23fff'%3E%3Ccircle mask='url(%23c)' cx='11.5' cy='11.5' r='9.25'/%3E%3Cuse xlink:href='%23b' mask='url(/web/20220311183155im_/https://www.bbc.com/culture/columns/%23c)'/%3E%3C/g%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl.mapboxgl-ctrl-attrib { padding: 0 5px; background-color: rgba(255, 255, 255, 0.5); margin: 0; } @media screen { .mapboxgl-ctrl-attrib.mapboxgl-compact { min-height: 20px; padding: 0; margin: 10px; position: relative; background-color: #fff; border-radius: 3px 12px 12px 3px; } .mapboxgl-ctrl-attrib.mapboxgl-compact:hover { padding: 2px 24px 2px 4px; visibility: visible; margin-top: 6px; } .mapboxgl-ctrl-bottom-left > .mapboxgl-ctrl-attrib.mapboxgl-compact:hover, .mapboxgl-ctrl-top-left > .mapboxgl-ctrl-attrib.mapboxgl-compact:hover { padding: 2px 4px 2px 24px; border-radius: 12px 3px 3px 12px; } .mapboxgl-ctrl-attrib.mapboxgl-compact .mapboxgl-ctrl-attrib-inner { display: none; } .mapboxgl-ctrl-attrib.mapboxgl-compact:hover .mapboxgl-ctrl-attrib-inner { display: block; } .mapboxgl-ctrl-attrib.mapboxgl-compact:after { content: ""; cursor: pointer; position: absolute; background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='24' height='24' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill-rule='evenodd'%3E%3Cpath d='M4 10a6 6 0 1012 0 6 6 0 10-12 0m5-3a1 1 0 102 0 1 1 0 10-2 0m0 3a1 1 0 112 0v3a1 1 0 11-2 0'/%3E%3C/svg%3E"); background-color: rgba(255, 255, 255, 0.5); width: 24px; height: 24px; -webkit-box-sizing: border-box; box-sizing: border-box; border-radius: 12px; } .mapboxgl-ctrl-bottom-right > .mapboxgl-ctrl-attrib.mapboxgl-compact:after { bottom: 0; right: 0; } .mapboxgl-ctrl-top-right > .mapboxgl-ctrl-attrib.mapboxgl-compact:after { top: 0; right: 0; } .mapboxgl-ctrl-top-left > .mapboxgl-ctrl-attrib.mapboxgl-compact:after { top: 0; left: 0; } .mapboxgl-ctrl-bottom-left > .mapboxgl-ctrl-attrib.mapboxgl-compact:after { bottom: 0; left: 0; } } @media screen and (-ms-high-contrast: active) { .mapboxgl-ctrl-attrib.mapboxgl-compact:after { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='24' height='24' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill-rule='evenodd' fill='%23fff'%3E%3Cpath d='M4 10a6 6 0 1012 0 6 6 0 10-12 0m5-3a1 1 0 102 0 1 1 0 10-2 0m0 3a1 1 0 112 0v3a1 1 0 11-2 0'/%3E%3C/svg%3E"); } } @media screen and (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl-attrib.mapboxgl-compact:after { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='24' height='24' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill-rule='evenodd'%3E%3Cpath d='M4 10a6 6 0 1012 0 6 6 0 10-12 0m5-3a1 1 0 102 0 1 1 0 10-2 0m0 3a1 1 0 112 0v3a1 1 0 11-2 0'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl-attrib a { color: rgba(0, 0, 0, 0.75); text-decoration: none; } .mapboxgl-ctrl-attrib a:hover { color: inherit; text-decoration: underline; } .mapboxgl-ctrl-attrib .mapbox-improve-map { font-weight: 700; margin-left: 2px; } .mapboxgl-attrib-empty { display: none; } .mapboxgl-ctrl-scale { background-color: rgba(255, 255, 255, 0.75); font-size: 10px; border: 2px solid #333; border-top: #333; padding: 0 5px; color: #333; -webkit-box-sizing: border-box; box-sizing: border-box; } .mapboxgl-popup { position: absolute; top: 0; left: 0; display: -ms-flexbox; display: flex; will-change: transform; pointer-events: none; } .mapboxgl-popup-anchor-top, .mapboxgl-popup-anchor-top-left, .mapboxgl-popup-anchor-top-right { -ms-flex-direction: column; flex-direction: column; } .mapboxgl-popup-anchor-bottom, .mapboxgl-popup-anchor-bottom-left, .mapboxgl-popup-anchor-bottom-right { -ms-flex-direction: column-reverse; flex-direction: column-reverse; } .mapboxgl-popup-anchor-left { -ms-flex-direction: row; flex-direction: row; } .mapboxgl-popup-anchor-right { -ms-flex-direction: row-reverse; flex-direction: row-reverse; } .mapboxgl-popup-tip { width: 0; height: 0; border: 10px solid transparent; z-index: 1; } .mapboxgl-popup-anchor-top .mapboxgl-popup-tip { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; border-top: none; border-bottom-color: #fff; } .mapboxgl-popup-anchor-top-left .mapboxgl-popup-tip { -ms-flex-item-align: start; align-self: flex-start; border-top: none; border-left: none; border-bottom-color: #fff; } .mapboxgl-popup-anchor-top-right .mapboxgl-popup-tip { -ms-flex-item-align: end; align-self: flex-end; border-top: none; border-right: none; border-bottom-color: #fff; } .mapboxgl-popup-anchor-bottom .mapboxgl-popup-tip { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; border-bottom: none; border-top-color: #fff; } .mapboxgl-popup-anchor-bottom-left .mapboxgl-popup-tip { -ms-flex-item-align: start; align-self: flex-start; border-bottom: none; border-left: none; border-top-color: #fff; } .mapboxgl-popup-anchor-bottom-right .mapboxgl-popup-tip { -ms-flex-item-align: end; align-self: flex-end; border-bottom: none; border-right: none; border-top-color: #fff; } .mapboxgl-popup-anchor-left .mapboxgl-popup-tip { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; border-left: none; border-right-color: #fff; } .mapboxgl-popup-anchor-right .mapboxgl-popup-tip { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; border-right: none; border-left-color: #fff; } .mapboxgl-popup-close-button { position: absolute; right: 0; top: 0; border: 0; border-radius: 0 3px 0 0; cursor: pointer; background-color: transparent; } .mapboxgl-popup-close-button:hover { background-color: rgba(0, 0, 0, 0.05); } .mapboxgl-popup-content { position: relative; background: #fff; border-radius: 3px; -webkit-box-shadow: 0 1px 2px rgba(0, 0, 0, 0.1); box-shadow: 0 1px 2px rgba(0, 0, 0, 0.1); padding: 10px 10px 15px; pointer-events: auto; } .mapboxgl-popup-anchor-top-left .mapboxgl-popup-content { border-top-left-radius: 0; } .mapboxgl-popup-anchor-top-right .mapboxgl-popup-content { border-top-right-radius: 0; } .mapboxgl-popup-anchor-bottom-left .mapboxgl-popup-content { border-bottom-left-radius: 0; } .mapboxgl-popup-anchor-bottom-right .mapboxgl-popup-content { border-bottom-right-radius: 0; } .mapboxgl-popup-track-pointer { display: none; } .mapboxgl-popup-track-pointer * { pointer-events: none; -webkit-user-select: none; -moz-user-select: none; -ms-user-select: none; user-select: none; } .mapboxgl-map:hover .mapboxgl-popup-track-pointer { display: -ms-flexbox; display: flex; } .mapboxgl-map:active .mapboxgl-popup-track-pointer { display: none; } .mapboxgl-marker { position: absolute; top: 0; left: 0; will-change: transform; } .mapboxgl-user-location-dot, .mapboxgl-user-location-dot:before { background-color: #1da1f2; width: 15px; height: 15px; border-radius: 50%; } .mapboxgl-user-location-dot:before { content: ""; position: absolute; -webkit-animation: mapboxgl-user-location-dot-pulse 2s infinite; animation: mapboxgl-user-location-dot-pulse 2s infinite; } .mapboxgl-user-location-dot:after { border-radius: 50%; border: 2px solid #fff; content: ""; height: 19px; left: -2px; position: absolute; top: -2px; width: 19px; -webkit-box-sizing: border-box; box-sizing: border-box; -webkit-box-shadow: 0 0 3px rgba(0, 0, 0, 0.35); box-shadow: 0 0 3px rgba(0, 0, 0, 0.35); } @-webkit-keyframes mapboxgl-user-location-dot-pulse { 0% { -webkit-transform: scale(1); opacity: 1; } 70% { -webkit-transform: scale(3); opacity: 0; } to { -webkit-transform: scale(1); opacity: 0; } } @keyframes mapboxgl-user-location-dot-pulse { 0% { -webkit-transform: scale(1); transform: scale(1); opacity: 1; } 70% { -webkit-transform: scale(3); transform: scale(3); opacity: 0; } to { -webkit-transform: scale(1); transform: scale(1); opacity: 0; } } .mapboxgl-user-location-dot-stale { background-color: #aaa; } .mapboxgl-user-location-dot-stale:after { display: none; } .mapboxgl-user-location-accuracy-circle { background-color: rgba(29, 161, 242, 0.2); width: 1px; height: 1px; border-radius: 100%; } .mapboxgl-crosshair, .mapboxgl-crosshair .mapboxgl-interactive, .mapboxgl-crosshair .mapboxgl-interactive:active { cursor: crosshair; } .mapboxgl-boxzoom { position: absolute; top: 0; left: 0; width: 0; height: 0; background: #fff; border: 2px dotted #202020; opacity: .5; } @media print { .mapbox-improve-map { display: none; } } /* stylelint-disable property-no-unknown */ .partner-module { border-bottom: 1px solid #472479; border-top: 0; } .partner-module__link, .partner-module__link:visited { -ms-flex-align: center; align-items: center; color: #444; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; padding: 0; text-decoration: none; } .partner-module__link:hover { background-color: #f5f5f5; } .partner-module__heading { display: inline-block; font-size: 16px; line-height: 22px; margin: 16px 0; } .partner-module__partner-name { font-weight: bold; } .partner-module__partner-logo { display: block; height: 31px; margin: 12px 0; margin-left: 17px; width: 88px; } /* stylelint-disable property-no-unknown */ .author-unit { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; font-size: 14px; letter-spacing: -0.1px; line-height: 35px; } .author-unit--small-mobile { line-height: 30px; } .author-unit .author-unit__container { color: #4a4a4a; margin: 0 auto; } .author-unit .author-unit__container--desktop { margin: 0; } .author-unit__container { -ms-flex-align: baseline; align-items: baseline; display: -ms-flexbox; display: flex; padding: 10px 0; } .author-unit__text { font-style: italic; font-weight: 600; padding-right: 10px; text-decoration: none; } .author-unit__icon { color: #6a6a6a; padding-right: 14px; position: relative; text-decoration: none; top: 1px; } .author-unit__icon:hover { color: #00bbf2; } /* stylelint-disable property-no-unknown */ .uppercase-label { color: #8f8d8d; font-size: 12px; font-style: condensed; font-weight: bold; letter-spacing: 1px; line-height: 16px; margin: 0; padding: 0; text-transform: uppercase; -webkit-transition: color 0.4s; transition: color 0.4s; } .uppercase-label--small { font-size: 11px; font-weight: 400; line-height: 14px; margin: 0; } .uppercase-label--medium { font-size: 14px; line-height: 18px; } .uppercase-label--reith-condensed { font-weight: 400; } .uppercase-label--white { color: #ebebeb; } .uppercase-label--light-grey { color: #999; } .uppercase-label--dark-grey { color: #444; } .uppercase-label--large { font-size: 16px; line-height: 18px; } .uppercase-label--true-white { color: #fff; text-shadow: 0 1px 1px #193e6d; } .uppercase-label--arial { font-family: Arial; } .label-with-line { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .label-with-line__label { margin: 0 16px 0 0; } .body-text-card-inline-video { margin: 24px 0; position: relative; } /* stylelint-disable property-no-unknown */ @-webkit-keyframes spin { 0% { -webkit-transform: rotate(0deg); transform: rotate(0deg); } 100% { -webkit-transform: rotate(360deg); transform: rotate(360deg); } } @keyframes spin { 0% { -webkit-transform: rotate(0deg); transform: rotate(0deg); } 100% { -webkit-transform: rotate(360deg); transform: rotate(360deg); } } .spinner { fill: #444; } .spinner__image { -webkit-animation: spin 1s linear infinite; animation: spin 1s linear infinite; } .spinner--worklife { fill: #8beed9; } .spinner--future { fill: #ffc857; } .spinner--culture { fill: #472479; } .spinner--travel { fill: #002856; } .spinner--earth { fill: #002856; } .spinner--white { fill: #fff; } .spinner--audio { height: 32px; width: 32px; } /* stylelint-disable property-no-unknown */ /* stylelint-disable property-no-unknown */ .inline-video { height: 100%; } .inline-video__container { position: relative; } .inline-video__border-line { padding: 0 10px; } .inline-video .play-button__inline-video { bottom: 0; left: 0; position: absolute; z-index: 1000; } .inline-video__smp { background-color: #000; padding-bottom: 56.25%; } .inline-video__smp--loaded { background-color: unset; padding-bottom: unset; } .inline-video__description { border-bottom: 1px solid rgba(106, 106, 106, 0.43); color: #737373; font-size: 16px; font-style: italic; line-height: 24px; margin: 0 10px 0 3%; padding: 20px 0 12px; } .inline-video__description--desktop { border-bottom: 1px solid rgba(106, 106, 106, 0.43); margin: 0 18px; padding: 28px 0 18px; } /* stylelint-disable property-no-unknown */ .inline-image__description { border-bottom: 1px solid rgba(106, 106, 106, 0.43); font-style: italic; margin: 0 10px; padding: 20px 0 12px; } .inline-image__description--desktop { border-bottom: 1px solid rgba(106, 106, 106, 0.43); margin: 0 18px; padding: 20px 0 18px; } .inline-image img { border-radius: 0; } /* stylelint-disable property-no-unknown */ .inline-quote { border-left: 3px solid #575757; color: #575757; font-style: italic; letter-spacing: -1.69px; line-height: 32px; margin: 0; padding-left: 22px; } .inline-quote--worklife { border-left: 3px solid #8beed9; } .inline-quote--future { border-left: 3px solid #ffc857; } .inline-quote--culture { border-left: 3px solid #472479; } .inline-quote--earth { border-left: 3px solid #002856; } .inline-quote h2 { font-weight: 300; } /* stylelint-disable property-no-unknown */ .inline-audio-player { background: none; } .inline-audio-player__smp-container { display: inline-block; width: 100%; } .inline-audio-player__smp-container > div { /* CreateSMPAudio */ display: inline-block; width: 100%; } .inline-audio-player__smp-container > div > div { height: 50px; position: relative; /* stylelint-disable-next-line selector-max-compound-selectors */ } .inline-audio-player__smp-container > div > div > div { padding: 0 !important; } .inline-audio-player__container { display: -ms-flexbox; display: flex; } .inline-audio-player__cta-holder { -ms-flex-align: center; align-items: center; background-color: #ededed; display: -ms-flexbox; display: flex; padding-right: 8px; } .inline-audio-player__cta-container { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .inline-audio-player__cta-container.initialising * { cursor: initial; pointer-events: none; -webkit-user-select: none; -moz-user-select: none; -ms-user-select: none; user-select: none; } .inline-audio-player__cta-container.initialising button { opacity: 0.6; } .inline-audio-player__text { background: none; border: 0; color: #222; cursor: pointer; font-size: 18px; height: 25px; letter-spacing: -0.1px; line-height: 25px; margin-left: 12px; outline: inherit; padding: 0; } .inline-audio-player__text--offline { cursor: default; pointer-events: none; } .inline-audio-player__disclaimer { background-color: #e6711b; color: #fff; cursor: pointer; height: 25px; left: -110px; line-height: 12px; margin-left: 0; padding: 0 7px; position: relative; top: 25px; width: 66px; } .inline-audio-player__disclaimer:hover .inline-audio-player__arrow { -webkit-transform: rotate(45deg); transform: rotate(45deg); } .inline-audio-player__inner-arrow { color: #4d4d49; font-size: 10px; } .inline-audio-player__arrow-button { background-color: transparent; border: 0; margin-left: auto; outline: none; -webkit-transition: all 0.5s ease; transition: all 0.5s ease; } .inline-audio-player__arrow-button__open { -webkit-transform: rotate(180deg); transform: rotate(180deg); } .inline-audio-player__disclaimer-copy { color: #444; display: block; font-size: 12px; letter-spacing: 0; line-height: 17px; margin-top: 16px; } .inline-audio-player__arrow { border: solid #fff; border-width: 0 2px 2px 0; display: inline-block; padding: 3px; position: relative; top: -1px; -webkit-transform: rotate(-45deg); transform: rotate(-45deg); -webkit-transition: 0.4s; transition: 0.4s; } .inline-audio-player__hidden { display: none; } .inline-audio-player .collapsible-container { background-color: #ededed; color: #444; font-size: 16px; line-height: 24px; padding: 1rem; } .inline-audio-player .collapsible-container__hide { display: none; } .inline-audio-player .previous-button__inline-audio { margin-right: 1px; } .inline-audio-player__line { margin-top: 16px; } .inline-audio-player .previous-media-button { height: 50px; margin-right: 1px; width: 50px; } .inline-audio-player .previous-button__inline-audio { margin-right: 1px; } .copyright__text { color: #737373; font-size: 16px; font-style: italic; line-height: 24px; margin-bottom: 10px; text-align: center; } @media (max-width: 767px) { .copyright__text { margin-top: 12px; } } .content-embed { width: 100%; } .infographic-embed__frame { width: 100%; } /* stylelint-disable property-no-unknown */ .article-video { height: 100%; position: relative; } .article-video img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .article-video__overlay { display: -ms-flexbox; display: flex; height: 100%; -ms-flex-pack: center; justify-content: center; top: 0; width: 100%; } .article-video__play-button { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; left: 50%; padding: 0; position: absolute; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); z-index: 1500; } .article-video__label { margin-bottom: 16px; } .article-video__image { bottom: 0; height: 100%; position: absolute; top: 0; width: 100%; } .article-video__image--hide { opacity: 0; } .article-video__playercore { display: block; } .article-video__playercore--mobile { display: none; position: absolute; top: 0; width: 100%; } .article-video__playercore--show { display: block; } .article-video--bordered { border-radius: 4px; overflow: hidden; } /* stylelint-disable property-no-unknown */ .hero-video { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; height: 180px; -ms-flex-pack: center; justify-content: center; position: relative; z-index: 1; } .hero-video__video { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; height: 80%; -ms-flex-pack: center; justify-content: center; position: relative; width: 80%; z-index: 2; } .hero-video__video--desktop { left: 0; top: 65px; width: 71.5% !important; } .hero-video__video--mobile { height: 100%; width: 100%; } .hero-video__video--small-desktop { height: 70%; left: 0; top: 78px; width: 67%; } .hero-video--small-desktop, .hero-video--desktop { display: block; height: 720px; } .hero-video img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; -webkit-filter: brightness(40%); filter: brightness(40%); } @media all and (-ms-high-contrast: none), (-ms-high-contrast: active) { .hero-video img { opacity: 0.5; } } .hero-video--mobile { height: 280px; } .hero-video--medium-mobile { height: 430px; } .hero-video--tablet { height: 574px; } .hero-video--tablet .hero-video__video { margin-bottom: 10px; } .hero-video__play-button { position: absolute; z-index: 100; } .hero-video__video div div { position: inherit !important; position: unset !important; } .share-tools-popout { -ms-flex-align: center; align-items: center; background-color: #fff; border: 1px solid #979797; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; padding: 30px 0 20px; position: relative; width: 300px; } .share-tools-popout__text { color: #444; font-size: 12px; font-weight: bold; letter-spacing: 3px; margin: 0 18px 18px; text-align: center; text-transform: uppercase; } .share-tools-popout__url-container { padding: 0 18px; width: 100%; } .share-tools-popout__articleurl { border: 1px solid #979797; -webkit-box-sizing: border-box; box-sizing: border-box; color: #a39f9f; font-size: 12px; letter-spacing: -0.5px; margin-bottom: 8px; margin-top: 0; padding: 12px 10px; text-align: center; width: 262px; } .share-tools-popout__close { -ms-flex-align: center; align-items: center; background-color: unset; border: unset; cursor: pointer; display: -ms-flexbox; display: flex; position: absolute; right: 8px; top: 20px; } .share-tools-popout__close:hover .share-tools-popout__close-icon { color: #888; -webkit-transform: rotate(90deg); transform: rotate(90deg); } .share-tools-popout__close-icon { color: #000; font-size: 16px; -webkit-transition: 0.4s; transition: 0.4s; } .share-tools-popout__border-arrow { background-color: #fff; border: 1px solid #979797; border-bottom: 0; border-right: 0; height: 12px; left: 40px; position: absolute; top: -7px; -webkit-transform: rotate(45deg); transform: rotate(45deg); width: 12px; } .share-tools-popout__tools { margin-bottom: 13px; } .share-tools-popout__details { -ms-flex-item-align: normal; -ms-grid-row-align: normal; align-self: normal; color: #444; font-size: 12px; letter-spacing: 0; line-height: 16px; margin: 0; max-width: 180px; padding-left: 14px; } .share-tools-popout__copied, .share-tools-popout__copy { background-color: #000; border: unset; color: #fff; cursor: pointer; font-size: 12px; font-weight: bold; letter-spacing: 3px; margin-bottom: 18px; padding: 12px 6px; text-transform: uppercase; -webkit-transition: 0.4s; transition: 0.4s; width: 110px; } .share-tools-popout__copy:hover { background-color: #555; } .share-tools-popout__copied .gelicon--yes { color: #ff9700; margin-left: 8px; } .share-button-with-popout { position: relative; z-index: 9999; } .share-button-with-popout__popout { max-width: 330px; padding-right: 8px; position: absolute; top: 53px; width: 100%; } .share-button-with-popout__popout--desktop { width: auto; } .article-end__line--long { margin-bottom: 24px; } .article-end__share-tools { margin-bottom: 0; } .article-end--tablet .article-end__line--long { margin-bottom: 36px; } .article-end--desktop .article-end__line--long { margin-bottom: 44px; } .article-end--desktop .article-end__share-tools { display: -ms-flexbox; display: flex; margin-bottom: 50px; } .article-end--desktop .article-end__share { margin-top: 0; } .article-end__share { margin-top: 5px; } /* stylelint-disable property-no-unknown */ .article-share-tools { display: -ms-flexbox; display: flex; } .article-share-tools a, .article-share-tools button { background-color: transparent; border: 1px solid #e4e4e4; border-radius: 0; -webkit-box-sizing: border-box; box-sizing: border-box; color: #979797; display: -ms-flexbox; display: flex; height: 52px; margin-right: 2px; width: 52px; } .article-share-tools--dark a, .article-share-tools--dark button { color: #444; height: 54px; width: 54px; } .article-share-tools--dark a svg, .article-share-tools--dark button svg { stroke: #444; } .article-share-tools a:hover, .article-share-tools button:hover { background-color: #fff; } .article-share-tools .facebook-icon:hover { color: #3b5898; } .article-share-tools .email-icon:hover { color: #615f5d; } .article-share-tools .twitter-icon:hover { color: #47c7fa; } .article-share-tools .linkedin-icon:hover { color: #0077b5; } .article-share-tools .whatsapp-icon:hover { color: #25d366; } .article-share-tools .facebook-messenger { color: #0184ff; } .article-share-tools .ticked-icon { background-color: transparent; border: 1px solid #e4e4e4; border-radius: 0; -webkit-box-shadow: none; box-shadow: none; font-size: 11px; margin-right: 2px; padding: 3px; } .article-share-tools--popout > *, .article-share-tools--popout a { color: #020203; margin-bottom: 3px; -webkit-transition: 0.4s; transition: 0.4s; } .domestic-disclaimer { background-color: #333; position: relative; } .domestic-disclaimer__content { display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; margin: auto; max-width: 990px; } .domestic-disclaimer__content--desktop-small { max-width: 976px; } .domestic-disclaimer__content--desktop { max-width: 1248px; } .domestic-disclaimer__text { color: #d8d8d8; font-size: 13px; line-height: 14px; margin: auto; padding: 8px 16px; } .domestic-disclaimer__text--tablet { font-size: 14px; line-height: 19px; padding: 16px 54px 16px 16px; } .domestic-disclaimer__text--desktop { font-size: 14px; line-height: 19px; margin-left: 0; max-width: 890px; padding: 14px 16px; } .domestic-disclaimer__close-button { -ms-flex-align: center; align-items: center; background-color: unset; border: unset; cursor: pointer; display: -ms-flexbox; display: flex; padding: 0 16px 0 0; position: relative; } .domestic-disclaimer__close-button--desktop { padding: 0 16px 0 0; } .domestic-disclaimer__close-icon { color: #d8d8d8; font-size: 16px; } .domestic-disclaimer__close-icon--desktop { font-size: 22px; } /* stylelint-disable property-no-unknown */ .section-header-text__text { background-color: #fff; border-radius: 4px; -webkit-box-shadow: 0 0 20px 0 rgba(153, 153, 153, 0.5), 0 2px 5px 0 rgba(153, 153, 153, 0.5); box-shadow: 0 0 20px 0 rgba(153, 153, 153, 0.5), 0 2px 5px 0 rgba(153, 153, 153, 0.5); margin: 0 8px; opacity: 0.95; padding: 16px; position: relative; z-index: 3; } .section-header-text__text--no-margin { margin: 0; } .section-header-text__ad { display: -ms-flexbox; display: flex; -ms-flex-pack: end; justify-content: flex-end; margin: 0 8px 8px; position: relative; top: unset; } .section-header-text__ad--desktop { margin: 0 0 8px; } .section-header-text__title { display: inline-block; } .section-header-text__title--large-margin { margin: 0 40px 16px 0; } .section-header-text__title--premium { border: 1.78px solid; padding: 8px; } .section-header-text__title-content { color: #444; font-size: 22px; font-weight: bold; margin: unset; } .section-header-text__title-content--tablet { font-size: 24px; } .section-header-text__title-content--desktop { font-size: 28px; } .section-header-text__description { color: #555; font-size: 14px; line-height: 20px; margin: 0; } .section-header-text__description--large { font-size: 16px; line-height: 24px; } /* stylelint-disable property-no-unknown */ .section-header-unit { max-width: 1280px; position: relative; } .section-header-unit--tablet { height: 320px; } .section-header-unit--desktop { border-radius: 4px; height: 320px; overflow: hidden; } .section-header-unit__image { height: 320px; max-height: 320px; overflow: hidden; position: relative; } .section-header-unit__image img { left: 50%; position: relative; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); } .section-header-unit__image--right img { left: unset; min-width: 100%; right: 0; width: unset; } .section-header-unit__image--left img { left: unset; min-width: 100%; right: unset; width: unset; } .section-header-unit__content { position: relative; -webkit-transform: translateY(-50%); transform: translateY(-50%); } .section-header-unit__content--desktop { bottom: 0; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: center; justify-content: center; max-width: 420px; position: absolute; right: 32px; top: 0; -webkit-transform: none; transform: none; } .section-header-unit__content--advert { -webkit-transform: translateY(calc(-50% - 28px)); transform: translateY(calc(-50% - 28px)); /* - half the height of the advert so the text is still centered. */ } /* stylelint-disable property-no-unknown */ .label-list { display: -ms-flexbox; display: flex; -ms-flex-direction: row; flex-direction: row; position: relative; } .label-list__line { width: 100%; } .label-list__content { margin: 30px 0 0 16px; width: 100%; } .label-list__content--tablet { margin: 34px 0 0 38px; } .label-list__content--desktop { margin: 42px 0 0 32px; } .label-list__list-item { margin: 0; padding: 0; } .label-list__link { color: #444; font-size: 18px; line-height: 24px; text-decoration: none; } .label-list__link:hover { color: #adadad; } .label-list__link--large { font-size: 22px; line-height: 29px; } .label-list__link:not(:first-of-type) { margin-top: 8px; } .label-list__link--large:not(:first-of-type) { margin-top: 12px; } .label-list__list-items { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; margin-top: 36px; } .label-list__list-items--tablet { margin-top: 52px; } .label-list__list-items--desktop { margin-top: 46px; } /* stylelint-disable property-no-unknown */ .offline-reading { font-family: 'CuriousSansBold'; -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; } .offline-reading__header { font-size: 14px; line-height: 20px; margin: 0 0 16px; max-width: 220px; text-align: center; } .offline-reading__header--desktop { font-size: 18px; max-width: 460px; } .offline-reading__buttons { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; text-align: center; } .offline-reading__buttons--desktop { -ms-flex-align: center; align-items: center; -ms-flex-direction: row; flex-direction: row; } .offline-reading__top-stories { margin-bottom: 24px; } .offline-reading__top-stories--desktop { margin: 0 16px 0 0; } .offline-reading__icon { display: block; height: auto; margin-bottom: 24px; width: 120px; } /* stylelint-disable property-no-unknown */ .rectangle-image { background-size: cover; height: 74px; max-width: 100%; overflow: hidden; position: relative; width: 132px; } .rectangle-image img { height: 100%; left: 50%; position: absolute; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); width: auto; } .rectangle-image--small { -webkit-box-sizing: border-box; box-sizing: border-box; height: 32px; width: 56px; } .rectangle-image--large { -webkit-box-sizing: border-box; box-sizing: border-box; height: 162px; width: 288px; } .rectangle-image--medium { -webkit-box-sizing: border-box; box-sizing: border-box; height: 126px; width: 222px; } .rectangle-image--full-screen { padding-top: 56.25%; width: 100%; } .rectangle-image img { -webkit-transition: all 0.4s ease; transition: all 0.4s ease; } .rectangle-image__overlay { background-color: rgba(0, 0, 0, 0.6); bottom: 0; height: 100%; left: 0; opacity: 0; pointer-events: none; position: absolute; right: 0; top: 0; width: 100%; } .rectangle-image__overlay--culture { background-color: rgba(72, 41, 120, 0.6); } .rectangle-image:hover .rectangle-image__overlay { opacity: 1; } .rectangle-image:hover img { height: 108%; } /* stylelint-disable property-no-unknown */ .rectangle-story-item { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; height: 100%; -ms-flex-pack: justify; justify-content: space-between; margin: auto; max-width: 100%; width: 288px; } .rectangle-story-item__image-container:hover .rectangle-image__overlay { opacity: 1; } .rectangle-story-item__image-container:hover .rectangle-story-item__icon { background-color: #000; } .rectangle-story-item__image-container--culture:hover .rectangle-story-item__icon { background-color: #482978; } .rectangle-story-item__image-container:hover .rectangle-image img { height: 108%; } .rectangle-story-item__image-container { position: relative; width: 100%; } .rectangle-story-item--tablet { width: 222px; } .rectangle-story-item__container { display: -ms-flexbox; display: flex; -ms-flex: 1 1 auto; flex: 1 1 auto; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: justify; justify-content: space-between; margin-top: 3px; width: 100%; } .rectangle-story-item__label { color: #4a4a4a; display: block; font-size: 12px; font-weight: bold; letter-spacing: 3px; line-height: 16px; margin-right: auto; margin-top: 20px; padding-bottom: 3px; text-decoration: none; text-transform: uppercase; } .rectangle-story-item__label--worklife:hover, .rectangle-story-item__label--future:hover, .rectangle-story-item__label__travel:hover { background-image: none; } .rectangle-story-item__label--worklife > span:hover, .rectangle-story-item__label--future > span:hover, .rectangle-story-item__label__travel > span:hover { border-bottom: 1px solid #4a4a4a; } .rectangle-story-item__label--culture:hover { background-image: none; } .rectangle-story-item__label--culture > span:hover { border-bottom: 1px solid #482978; } .rectangle-story-item__line { display: block; margin: 16px 0; } .rectangle-story-item__author { color: #4a4a4a; display: block; font-size: 14px; font-style: italic; letter-spacing: 0.1px; line-height: 35px; text-decoration: none; } .rectangle-story-item__title { color: rgba(46, 46, 46, 0.85); display: block; font-size: 18px; letter-spacing: -0.21px; line-height: 30px; text-decoration: none; } .rectangle-story-item__icon { background-color: #000; bottom: 0; color: #fff; font-size: 14px; height: 44px; line-height: 44px; position: absolute; text-align: center; -webkit-transition: 0.4s ease; transition: 0.4s ease; width: 44px; } .rectangle-story-item__title--white, .rectangle-story-item__author--white, .rectangle-story-item__label--white { color: #fff; } .rectangle-story-item__label--white:hover { border-bottom: 0; } .rectangle-story-item__label--white > span:hover { border-bottom: 1px solid #fff; } .rectangle-article-group { display: -ms-flexbox; display: flex; -ms-flex: 1 1; flex: 1 1; -ms-flex-direction: column; flex-direction: column; -ms-flex-wrap: wrap; flex-wrap: wrap; -ms-flex-pack: center; justify-content: center; position: relative; } .rectangle-article-group--tablet, .rectangle-article-group--desktop { -ms-flex-direction: row; flex-direction: row; } .rectangle-article-group__article { display: inline-block; padding-top: 12px; } .rectangle-article-group__article--tablet { padding: 0 16px 0 0; } .rectangle-article-group__article--desktop { padding: 0 24px 0 0; } .fake-ad { -ms-flex-line-pack: center; align-content: center; -ms-flex-align: center; align-items: center; background: #f6f6f6; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: center; justify-content: center; padding: 8px; } .fake-ad__body { -ms-flex-align: center; align-items: center; background: #5ae9cb; color: #fff; display: -ms-flexbox; display: flex; -ms-flex: 0 0 auto; flex: 0 0 auto; font-family: Arial, sans-serif; -ms-flex-pack: center; justify-content: center; } .fake-ad__text { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; color: #444; font-family: Arial, sans-serif; font-size: 12px; font-weight: bold; line-height: 1.5; text-align: right; text-transform: uppercase; } .fake-ad--mpu .fake-ad__body { height: 320px; width: 320px; } .fake-ad--mpu .fake-ad__text { width: 320px; } .fake-ad--mobile-leaderboard .fake-ad__body { height: 50px; width: 300px; } .fake-ad--mobile-leaderboard .fake-ad__text { width: 300px; } .fake-ad--leaderboard .fake-ad__body { height: 90px; width: 728px; } .fake-ad--leaderboard .fake-ad__text { width: 728px; } .body-text-card-inline-image { margin: 24px 0; position: relative; } /* stylelint-disable property-no-unknown */ .body-text-card { color: #444; display: block; font-size: 16px; line-height: 1.5; } .body-text-card__image, .body-text-card__video { margin: 24px 0; } .body-text-card__text { display: block; } .body-text-card__advert { margin: 20px 0; } .body-text-card__text div a { cursor: pointer; font-weight: bold; text-decoration: none; } .body-text-card__text a:hover { text-decoration: underline; } .body-text-card__text > div > p { margin: 0 20px 16px; } .body-text-card__text > div > p:last-child { margin-bottom: 0; padding-bottom: 0; } .body-text-card__drop-capped { float: left; margin: 0 8px 0 20px; padding-top: 6px; } .body-text-card__text--drop-capped p:first-of-type::first-letter { color: transparent; font-size: 0; } .body-text-card__text--flush-text > div > p { margin-left: 0; margin-right: 0; } .body-text-card__text--future div a:visited { color: #666; } .body-text-card__text--future div a { color: #002856; -webkit-text-decoration-color: #002856; text-decoration-color: #002856; } .body-text-card__text--travel div a { color: #589e50; -webkit-text-decoration-color: #589e50; text-decoration-color: #589e50; } .body-text-card__text--worklife div a { color: #0052a1; -webkit-text-decoration-color: #0052a1; text-decoration-color: #0052a1; } .body-text-card__text--earth div a { color: #0fbb56; -webkit-text-decoration-color: #0fbb56; text-decoration-color: #0fbb56; } .body-text-card__text--culture div a { color: #472479; -webkit-text-decoration-color: #472479; text-decoration-color: #472479; } /* stylelint-disable property-no-unknown */ .branding { -webkit-box-sizing: content-box !important; box-sizing: content-box !important; display: inline-block; height: 24px; padding: 12px 16px; width: 100%; } .branding__icon { display: inline-block; height: 24px; width: 100%; } .branding__icon g { fill: #fff; } .branding--medium { padding: 16px; } .branding--large { padding: 16px 24px; } .branding--worklife { background-color: #0052a1; } .branding--future { background-color: #002856; } .branding--culture { background-color: #472479; } .branding--earth { background-color: #0fbb56; } .branding--travel { background-color: #589e50; } .branding--travel svg, .branding--earth svg, .branding--culture svg, .branding--future svg, .branding--worklife svg { height: 24px; } .branding--small, .branding--small svg { height: 17px; } .branding__icon--medium, .branding--medium, .branding--medium svg { height: 22px; } .branding__icon--large, .branding--large, .branding--large svg { height: 24px; } .branding__icon--largest, .branding--largest, .branding--largest svg { height: 32px; } .branding__icon--small, .branding--travel .branding__icon--small svg, .branding--earth .branding__icon--small svg, .branding--culture .branding__icon--small svg, .branding--future .branding__icon--small svg, .branding--worklife .branding__icon--small svg { height: 17px; } /* stylelint-disable property-no-unknown */ .swimlane-inner { background-position: center; background-repeat: no-repeat; background-size: auto 100%; display: block; padding: 24px 16px; } .swimlane-inner--small { padding: 24px 8px; } .swimlane-inner--tablet { padding: 28px 16px 42px; } .swimlane-inner--small-desktop { padding: 30px 16px 42px; } .swimlane-inner--desktop { padding: 38px 16px 42px; } .swimlane { overflow: hidden; position: relative; z-index: 0; } .swimlane__black { background-color: #0e0e0e; } .swimlane__background-image { height: 500px; position: absolute; right: 0; top: 0; width: 915px; z-index: -1; } .swimlane__background-image--mobile { height: 181px; width: 320px; } .swimlane__background-image--tablet { height: 421px; width: 752px; } .swimlane__background-image--desktop { height: 500px; width: 915px; } .swimlane__background-image--atb { background-color: rgba(51, 51, 51, 0.8); background-size: cover; height: 100%; width: 100%; } .swimlane__item { margin: 0 0 25px; width: 100%; } .swimlane__item--desktop { margin: 0; } .swimlane__item--tablet { margin: 0 16px 25px 0; width: calc((100% - 48px) / 3); } .swimlane__item--tablet:nth-of-type(3n + 3) { margin-right: 0; } .swimlane__item--two-columns { margin-right: 0 !important; max-width: 572px; width: 50%; } .swimlane__item--four-columns { -webkit-box-sizing: border-box; box-sizing: border-box; margin-bottom: 25px; margin-right: 16px; width: calc((100% - 48px) / 4); } .swimlane__item--four-columns:nth-of-type(4n + 4) { margin-right: 0; } .swimlane__items { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; margin-top: 24px; text-align: left; } .swimlane__items--desktop { -ms-flex-direction: row; flex-direction: row; -ms-flex-wrap: wrap; flex-wrap: wrap; -ms-flex-pack: center; justify-content: center; margin-top: 42px; } .swimlane__items--small-desktop { -ms-flex-direction: row; flex-direction: row; -ms-flex-wrap: wrap; flex-wrap: wrap; margin-top: 30px; } .swimlane__items--tablet { -ms-flex-direction: row; flex-direction: row; -ms-flex-wrap: wrap; flex-wrap: wrap; -ms-flex-pack: justify; justify-content: space-between; margin-top: 30px; } .swimlane__items--no-title { margin-top: 0; } .swimlane__content { margin: auto; max-width: 942px; text-align: center; } .swimlane__content--desktop { max-width: 1216px; } .swimlane__title { color: #fff; font-size: 14px; font-weight: bold; letter-spacing: 2.92px; line-height: 19px; text-transform: uppercase; } .swimlane__title--black { color: #010101; font-weight: 400; } .see-more-button-container-alt { color: #0e0e0e; } .follow-us-on { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; position: relative; } .follow-us-on__text { color: #fff; font-size: 16px; font-style: condensed; line-height: 20px; margin: 0 0 20px; padding: 0; text-transform: uppercase; } .follow-us-on__links { display: -ms-flexbox; display: flex; -ms-flex-direction: row; flex-direction: row; } .follow-us-on__link:first-child { margin-right: 16px; } /* stylelint-disable property-no-unknown */ .nav-bar { background-color: #fff; } .nav-bar__hidden-menu { display: none; } .nav-bar__visible-menu { display: block; } .nav-bar__no-scroll { max-height: 100vh; overflow: hidden; } /* stylelint-disable property-no-unknown */ .dot-with-label { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .dot-with-label__text { padding-left: 8px; } .dot-with-label__text a { text-decoration: none; } .dot-with-label__text:hover h2 { color: #adadad; } .sponsor-section { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; height: 100%; max-width: 530px; } .sponsor-section--menu { padding: 20px 0 16px 24px; } .sponsor-section__container { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; height: 100%; } .sponsor-section__container--desktop { -ms-flex-align: center; align-items: center; -ms-flex-direction: row; flex-direction: row; -ms-flex-pack: justify; justify-content: space-between; } .sponsor-section__sponsor { color: #fff; padding-right: 16px; } .sponsor-section__sponsor-name { font-family: 'CuriousSansBold'; color: #4e4e4e; font-size: 26px; margin: 0; white-space: nowrap; } .sponsor-section__sponsor-name--mobile { padding-bottom: 16px; } .sponsor-section__sponsor-name--desktop { font-size: 22px; } .sponsor-section__sponsor-name--menu { color: #fff; } .sponsor-section__sponsor-name--menu-desktop { font-size: 32px; } .sponsor-section__summary { color: #ebebeb; font-size: 16px; line-height: 24px; padding-top: 16px; } .sponsor-section__advert { display: inline-block; } .icon-with-label { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .icon-with-label__icon { padding-right: 10px; } .full-width-image-article { width: 100%; } .full-width-image-article__container { min-height: 325px; overflow: hidden; position: relative; } .full-width-image-article__container--desktop { min-height: 400px; } .full-width-image-article__image { height: 100%; overflow: hidden; position: absolute; width: 100%; } .full-width-image-article__image img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .full-width-image-article__text { -ms-flex-align: center; align-items: center; color: #fff; left: 50%; max-width: 488px; padding: 0 20px; position: absolute; text-align: center; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); width: 100%; } .full-width-image-article__text a { color: #fff; text-decoration: none; } .full-width-image-article__text .full-width-image-article-text__label { display: inline-block; font-size: 14.4px; font-weight: bold; letter-spacing: 3.6px; line-height: 19px; margin-bottom: 11px; text-transform: uppercase; } .full-width-image-article__text .full-width-image-article-text__header { font-size: 24px; letter-spacing: -0.25px; line-height: 42px; margin: 0; padding: 0; } .full-width-image-article__text .full-width-image-article-text__header--desktop { font-size: 33.6px; } .full-width-image-article__text .full-width-image-article-text__author { font-size: 16.6px; font-style: italic; letter-spacing: -0.13px; line-height: 42px; margin-bottom: 0; margin-top: 28px; } .full-width-image-article__text .full-width-image-article-text__author--desktop { margin-top: 32px; } .full-width-image-article__background { background-image: radial-gradient(50% 49%, rgba(5, 36, 53, 0.37) 50%, rgba(0, 0, 0, 0) 83%); height: 100%; pointer-events: none; position: absolute; top: 0; width: 100%; } .full-width-image-article__link { color: #fff; text-decoration: none; } .more-articles { background-position: center; background-repeat: no-repeat; background-size: cover; -o-object-fit: cover; object-fit: cover; overflow: hidden; position: relative; -webkit-transition: background-image 0.4s; transition: background-image 0.4s; } .more-articles__heading { display: inline-block; margin: auto; max-width: 1272px; padding: 20px 0 0 16px; position: relative; z-index: 5; } .more-articles__stories { margin: 10px 16px 42px; max-width: 1232px; padding: 8px; position: relative; z-index: 4; } .more-articles__stories--small { padding: 0; } .more-articles__stories--tablet { margin: 24px 16px 72px; max-width: 1216px; } .more-articles__stories--desktop { margin: 56px 48px 92px; max-width: 1152px; } .more-articles__story-container:not(:first-of-type) { padding-top: 16px; } .more-articles__line { opacity: 0.3; padding-top: 16px; z-index: 5; } .more-articles__image-overlay { background-color: rgba(25, 62, 109, 0.3); bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; -o-object-fit: cover; object-fit: cover; pointer-events: none; position: absolute; right: -100%; top: -100%; width: 100%; z-index: 1; } .more-articles__image { opacity: 0; -webkit-transition: 0.6s; transition: 0.6s; } .more-articles__image img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .more-articles__image--right img { left: unset; min-width: 100%; right: 0; width: unset; } .more-articles__image--left img { left: unset; min-width: 100%; right: unset; width: unset; } .more-articles__image--visible { opacity: 1; } .more-articles__story--two-columns, .more-articles__story--three-columns { padding-right: 16px; width: 310px; } .more-articles__story-container:nth-child(even) .more-articles__story--two-columns { padding-right: 0; } .more-articles__story-container:nth-child(3n + 3) .more-articles__story--three-columns { padding-right: 0; } .more-articles__stories--two-columns, .more-articles__stories--three-columns { -ms-flex-align: end; align-items: flex-end; display: -ms-flexbox; display: flex; -ms-flex-wrap: wrap; flex-wrap: wrap; padding: 16px; } .more-articles__stories--two-columns .more-articles-item__link, .more-articles__stories--three-columns .more-articles-item__link { pointer-events: all; } .more-articles__story-container--two-columns { display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; width: 50%; } .more-articles__story-container--two-columns:nth-child(2) { padding-top: 0; } .more-articles__story-container--three-columns { display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; width: 33%; } .more-articles__story-container--three-columns:nth-child(-n + 3) { padding-top: 0; } .more-articles__heading--small { padding: 20px 0 0 8px; } .more-articles__heading--desktop { max-width: 1264px; padding: 38px 0 0 16px; } .more-articles__heading--tablet { max-width: 1264px; padding: 24px 0 0 16px; } /* stylelint-disable property-no-unknown */ .more-articles-item { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; position: relative; z-index: 5; } .more-articles-item__link { text-decoration: none; } .more-articles-item__container { display: -ms-flexbox; display: flex; width: 100%; } .more-articles-item__label { display: -ms-flexbox; display: flex; -ms-flex-wrap: wrap; flex-wrap: wrap; margin-top: 8px; } .more-articles-item__type { margin-right: 16px; position: relative; } .more-articles-item__icon { color: #fff; font-size: 12px; margin-right: 8px; } .more-articles-item__text { color: #fff; font-size: 20px; font-weight: bold; line-height: 24px; padding: 0; position: relative; text-shadow: 0 1px 2px rgba(25, 62, 109, 0.7); -webkit-transition: color 0.4s; transition: color 0.4s; } .more-articles-item__text--medium { font-size: 22px; line-height: 28px; } .more-articles-item__text--large { color: #ebebeb; font-size: 30px; line-height: 37px; } .more-articles-item__container--column { -ms-flex-direction: column; flex-direction: column; } .more-articles-item__image-container { position: relative; } .more-articles-item--two-columns { margin-right: 16px; } .more-articles-item__label--desktop { margin-top: 16px; } .more-articles-item__label--tablet { margin-top: 16px; } .more-articles-item__link:hover .more-articles-item__text { color: #adadad; } .most-popular { background-color: #f9f9f9; } .most-popular__inner { margin: 0 auto; max-width: 894px; padding: 45px 24px 21px; } .most-popular__inner--desktop { padding: 47px 0 86px; } .most-popular__header { color: #010101; font-size: 14px; letter-spacing: 2.92px; line-height: 19px; margin: 0; text-align: center; text-transform: uppercase; } .most-popular__items { display: block; } .most-popular__items--desktop { display: -ms-flexbox; display: flex; -ms-flex-wrap: wrap; flex-wrap: wrap; margin-top: 57px; } .most-popular-item { box-sizing: border-box; padding-top: 33px; } .most-popular-item:last-of-type { margin-bottom: 42px; } .most-popular-item--desktop { padding: 0 20px; width: calc(33.333%); } .most-popular-item--desktop:nth-child(3n + 2) { -ms-flex-order: 2; order: 2; padding: 38px 20px; } .most-popular-item--desktop:nth-child(3n + 3) { -ms-flex-order: 3; order: 3; } .most-popular-item--desktop:nth-child(n+4) { border-left: 1px solid #dadada; } .most-popular-item--desktop:last-of-type { margin-bottom: 0; } .most-popular-item a { text-decoration: none; } .most-popular-item__content { -ms-flex-align: end; align-items: flex-end; display: -ms-flexbox; display: flex; margin-top: 5px; } .most-popular-item__number { color: #cbcbcb; font-size: 40px; font-style: italic; font-weight: bold; line-height: 32px; margin: 0 20px 0 0; width: 25px; } .most-popular-item__label { color: #4a4a4a; font-size: 12px; font-weight: bold; letter-spacing: 3px; margin: 0 0 0 45px; text-transform: uppercase; } .most-popular-item__title { color: #2e2e2ecc; font-size: 14px; letter-spacing: -0.17px; line-height: 22px; margin-bottom: 0; margin-top: 0; } .most-popular-item__title--desktop { font-size: 16px; } .StickyElementContent { -webkit-transition: -webkit-transform 0.5s; transition: -webkit-transform 0.5s; transition: transform 0.5s; transition: transform 0.5s, -webkit-transform 0.5s; } .StickyElementContent--is-undocked { left: 0; position: fixed; top: 0; width: 100%; } .StickyElementContent--is-hidden { -webkit-transform: translateY(-100%); transform: translateY(-100%); } /* stylelint-disable property-no-unknown */ .error-page-header { position: relative; } .error-page-header__headers { margin-bottom: 16px; position: relative; z-index: 1; } .error-page-header__headers--tablet-plus { margin-bottom: 32px; } .error-page-header__description { color: #444; font-size: 16px; line-height: 20px; } .error-page-header__play-icon { margin-right: 16px; } .error-page-header__play-icon button { color: #adadad; } .error-page-header__dot-label { display: -ms-flexbox; display: flex; } /* stylelint-disable property-no-unknown */ .styled-list { list-style: none; margin: 0; padding: 0; } .styled-list__item { display: -ms-flexbox; display: flex; -ms-flex-direction: row; flex-direction: row; } .styled-list__item:not(:first-of-type) { padding-top: 8px; } .styled-list__item a { font-weight: bold; text-decoration: none; } .styled-list__item--worklife a { color: #8beed9; } .styled-list__item--future a { color: #ffc857; } .styled-list__item--culture a { color: #472479; } .styled-list__item--earth a { color: #002856; } .styled-list__item--travel a { color: #002856; } .styled-list__text { color: #444; font-size: 16px; line-height: 24px; padding-left: 20px; } .styled-list__dot { display: -ms-flexbox; display: flex; margin-top: 8px; } /* stylelint-disable property-no-unknown */ .image-gallery-item { margin: 26px 0; } .image-gallery-item img { height: 100%; -o-object-fit: cover; object-fit: cover; width: 100%; } .image-gallery-item__image--landscape { margin: 20px 0 20px -3%; width: 106%; } @media (max-width: 1000px) and (min-width: 767px) { .image-gallery-item__image--landscape { margin: 20px 0 20px -16%; width: 116%; } } @media (max-width: 1180px) and (min-width: 1024px) { .image-gallery-item__image--landscape { margin: 20px 0 20px -8%; width: 108%; } } @media (max-width: 1365px) and (min-width: 1280px) { .image-gallery-item__image--landscape { margin: 20px 0 20px -42%; width: 142%; } } @media (min-width: 1366px) { .image-gallery-item__image--landscape { margin: 20px 0 20px -55%; width: 155%; } } .image-gallery-item__image--portrait { margin: 20px 0; width: 100%; } @media (max-width: 599px) { .image-gallery-item__image--portrait { margin-left: -3%; width: 106%; } } .image-gallery-item__image--portrait, .image-gallery-item__image--portrait img { max-height: 507px; min-height: 463px; } @media (max-width: 1279px) and (min-width: 768px) { .image-gallery-item__image--portrait, .image-gallery-item__image--portrait img { min-height: 818px; } } .error-page { position: relative; } .error-page__container { margin-bottom: 16px; } .error-page__container--tablet-plus { margin-bottom: 32px; } .error-page__title { margin-bottom: 12px; } .error-page__title--desktop { margin-bottom: 24px; } /* stylelint-disable property-no-unknown */ .article-labels { font-size: 12px; line-height: 16px; text-transform: uppercase; } .article-labels a { color: #fff; letter-spacing: 1px; text-decoration: none; } .article-labels__text:first-child { font-weight: bold; } /* stylelint-disable property-no-unknown */ .rectangle-story-group { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; margin: auto; position: relative; } .rectangle-story-group__articles { display: -ms-flexbox; display: flex; -ms-flex: 1 1; flex: 1 1; -ms-flex-wrap: wrap; flex-wrap: wrap; -ms-flex-pack: center; justify-content: center; position: relative; } .rectangle-story-group__articles--small-tablet { -ms-flex-pack: unset; justify-content: unset; } .rectangle-story-group__articles--full-screen { display: block; } .rectangle-story-group__article { display: inline-block; padding-left: 18px; padding-top: 16px; } .rectangle-story-group__article--tablet { padding-left: 20px; padding-top: 22px; } .rectangle-story-group__article--desktop { padding-left: 22px; padding-top: 24px; } .rectangle-story-group__article--desktop:first-of-type { padding-left: 8px; } .rectangle-story-group__article--small-tablet { -webkit-box-sizing: border-box; box-sizing: border-box; width: 50%; } .rectangle-story-group__article--full-screen { display: block; padding: 16px; } .rectangle-story-group__article--full-screen:first-of-type { padding-top: 0; } .rectangle-story-group__article--small-desktop { padding-left: 10px; } .rectangle-story-group__article--small-desktop:last-of-type { padding-right: 8px; } .rectangle-story-group__articles-container { margin: auto; max-width: 950px; overflow: hidden; width: 100%; } .rectangle-story-group__advert-mpu { display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; margin-left: auto; margin-right: auto; padding: 16px 16px 24px; } .rectangle-story-group__advert-mpu--desktop { border-left: 1px solid #dadada; display: block; padding: 0 0 0 16px; padding-top: 0; } .rectangle-story-group__advert-mpu--small-desktop { display: block; padding: 0 0 0 8px; } .rectangle-story-group__hero--desktop { display: -ms-flexbox; display: flex; } .rectangle-story-group__article-hero--tablet { display: -ms-flexbox; display: flex; } .article-title-card-rectangle { width: 100%; } .article-title-card-rectangle__image:hover .article-title-card-rectangle__overlay { opacity: 1; } .article-title-card-rectangle__overlay { background-color: rgba(0, 0, 0, 0.6); bottom: 0; height: 100%; left: 0; opacity: 0; pointer-events: none; position: absolute; right: 0; top: 0; -webkit-transition: -webkit-transform 0.5s ease; transition: -webkit-transform 0.5s ease; transition: transform 0.5s ease; transition: transform 0.5s ease, -webkit-transform 0.5s ease; width: 100%; will-change: transform; } .article-title-card-rectangle__overlay--culture { background-color: rgba(72, 41, 120, 0.6); } .article-title-card-rectangle__image { margin-right: 40px; max-height: 390px; max-width: 620px; overflow: hidden; position: relative; width: auto; } .article-title-card-rectangle__image img { display: block; min-height: 194px; min-width: 344px; width: 100%; } .article-title-card-rectangle__image--tablet, .article-title-card-rectangle__image--desktop { margin-right: 0; width: 100%; } .article-title-card-rectangle__image--tablet img, .article-title-card-rectangle__image--desktop img { width: 110%; } .article-title-card-rectangle__image--preview-article { margin-right: 0; } .article-title-card-rectangle__image--index { margin-right: 0; max-width: 100%; } .article-title-card-rectangle__container { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; position: relative; } .article-title-card-rectangle__container--tablet, .article-title-card-rectangle__container--desktop { -ms-flex-align: center; align-items: center; -ms-flex-direction: row; flex-direction: row; } .article-title-card-rectangle__container--preview-article { margin-right: 8px; } .article-title-card-rectangle__container--index { -ms-flex-align: initial; align-items: initial; -ms-flex-direction: column; flex-direction: column; } .article-title-card-rectangle__text-box { background-color: #fff; margin-left: 40px; padding: 16px 22px 0; position: relative; top: -22px; } .article-title-card-rectangle__text-box__label { color: #4a4a4a; font-size: 12px; font-weight: bold; letter-spacing: 3px; line-height: 20px; margin: 0; text-transform: uppercase; width: -webkit-fit-content; width: -moz-fit-content; width: fit-content; } .article-title-card-rectangle__text-box__label--worklife:hover, .article-title-card-rectangle__text-box__label--future:hover { border-bottom: 1px solid #4a4a4a; } .article-title-card-rectangle__text-box__label--culture:hover { border-bottom: 1px solid #482978; } .article-title-card-rectangle__text-box__label--index { color: #000; font-size: 20px; font-weight: 300; letter-spacing: -0.53px; line-height: 30px; } .article-title-card-rectangle__text-box__label--index--tablet { font-size: 28px; letter-spacing: -0.74px; line-height: 44px; } .article-title-card-rectangle__text-box__label--index--desktop { font-size: 32px; letter-spacing: -0.84px; line-height: 44px; } .article-title-card-rectangle__text-box__header { color: #2e2e2e; font-size: 18px; letter-spacing: -0.21px; line-height: 30px; margin-bottom: 30px; margin-top: 12px; } .article-title-card-rectangle__text-box__header--desktop { font-size: 28px; } .article-title-card-rectangle__text-box__header--tablet { font-size: 26px; } .article-title-card-rectangle__text-box__header--index { color: #3d3d3d; font-family: Helvetica; font-size: 16px; letter-spacing: -0.12px; line-height: 31px; margin-top: 4px; } .article-title-card-rectangle__text-box__author { color: #4a4a4a; font-size: 14px; font-style: italic; letter-spacing: -0.1px; line-height: 35px; margin: 8px 0 0; } .article-title-card-rectangle__text-box__author--tablet { margin: 14px 0 0; } .article-title-card-rectangle__text-box--tablet, .article-title-card-rectangle__text-box--desktop { left: -40px; margin: 0; padding: 40px; top: 0; -webkit-transform: none; transform: none; } .article-title-card-rectangle__text-box--desktop { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: center; justify-content: center; } .article-title-card-rectangle__text-box--tablet { padding: 35px 22px 22px; } .article-title-card-rectangle__text-box--index { left: 0; margin-right: 40px; } .article-title-card-rectangle__text-box--index--tablet { margin-left: 50px; margin-right: 50px; padding: 30px 36px 0; top: -80px; } .article-title-card-rectangle__text-box--index--desktop { margin-left: 50px; max-width: 560px; top: -88px; width: 100%; } .article-title-card-rectangle__link { color: #000; text-decoration: none; } .article-title-card-rectangle__text-container { display: block; max-width: 252px; } .article-title-card-rectangle__text-container--tablet, .article-title-card-rectangle__text-container--desktop { max-width: 320px; } .article-title-card-rectangle__preview-container { color: #4d4d4d; text-decoration: none; } .article-title-card-rectangle__preview-text { display: block; font-size: 16px; line-height: 24px; margin-top: 27px; max-width: 396px; } .article-title-card-rectangle__read-more { display: inline-block; font-size: 15px; letter-spacing: 4px; margin: 25px 16px 0 0; text-transform: uppercase; } .article-title-card-rectangle__arrow { color: #bababa; display: inline-block; -webkit-transform: rotate(-90deg); transform: rotate(-90deg); } .article-headline { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; padding: 43px 0; } .article-headline .article-labels { text-align: center; } .article-headline__line--short { margin-bottom: 40px; } .article-headline--largeTablet .article-headline__text { font-size: 32px; text-align: center; } .article-headline--tablet { padding: 31px 0; } .article-headline--tablet .article-headline__collection { margin-bottom: 24px; } .article-headline--tablet .article-headline__text { font-size: 32px; letter-spacing: -0.84px; margin: 0 15px 23px; text-align: center; } .article-headline--mobile { padding: 20px 0; } .article-headline--mobile .article-headline__text { font-size: 24px; letter-spacing: -0.63px; margin: 0 15px 15px; text-align: center; } .article-headline--mobile .article-headline__collection { margin-bottom: 15px; } .article-headline__collection { margin-bottom: 40px; } .article-headline__collection a { color: #242424; } .article-headline__text { font-size: 45px; letter-spacing: -1.26px; line-height: 30px; margin-bottom: 44px; } /* stylelint-disable property-no-unknown */ .loading-spinner { margin: 0 auto; text-align: center; } .loading-spinner__message { color: #002756; display: block; font-size: 1.2rem; font-weight: bold; margin: 12px 0; text-align: center; text-transform: uppercase; } .loading-spinner__image { display: block; margin: 0 auto; width: 48px; } @media only screen and (min-width: 1600px) { .hero-image { height: 900px; position: relative; } .hero-image img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } } @media only screen and (max-width: 1600px) { .hero-image { height: 0; overflow: hidden; padding-top: 56.25%; position: relative; } .hero-image img { height: 100%; left: 0; position: absolute; top: 0; width: 100%; } } /* stylelint-disable property-no-unknown */ .article-hero { height: 672px; margin: 0; overflow: hidden; position: relative; width: 100%; } .article-hero--small-mobile { height: 373px; } .article-hero--mobile { height: 486px; } .article-hero--small-tablet { height: 433px; } .article-hero--tablet { height: 433px; } .article-hero--tablet .article-hero__content { padding: 60px 15px 0; } .article-hero__content { margin: auto; max-width: 1004px; pointer-events: none; position: relative; z-index: 1; } .article-hero--desktop { height: 573px; } .article-hero--desktop .article-hero__content { padding: 50px 30px 0; } .article-hero--large-desktop .article-hero__content { max-width: 1276px; } .article-hero--small-tablet .article-hero__content, .article-hero--mobile .article-hero__content, .article-hero--small-mobile .article-hero__content { padding: 60px 10px 0; } .article-hero--small-tablet .article-hero__content-title, .article-hero--mobile .article-hero__content-title, .article-hero--small-mobile .article-hero__content-title { font-size: 24px; line-height: 30px; max-width: 220px; } .article-hero--small-tablet .article-hero__content-line, .article-hero--mobile .article-hero__content-line, .article-hero--small-mobile .article-hero__content-line { margin-bottom: 16px; margin-top: 16px; } .article-hero--small-tablet .article-hero__content-labels, .article-hero--mobile .article-hero__content-labels, .article-hero--small-mobile .article-hero__content-labels { margin-bottom: 15px; } .article-hero--small-tablet .article-hero__content-cta, .article-hero--mobile .article-hero__content-cta, .article-hero--small-mobile .article-hero__content-cta { line-height: 22px; } .article-hero--small-tablet .article-hero__content-cta a, .article-hero--mobile .article-hero__content-cta a, .article-hero--small-mobile .article-hero__content-cta a { letter-spacing: 3px; } .article-hero__ambient-hidden { display: none; } .article-hero__background-ambient { bottom: 0; left: 0; position: absolute; right: 0; top: 0; z-index: -1; } .article-hero__background::after { background-image: linear-gradient(-63deg, rgba(0, 0, 0, 0) 0%, rgba(0, 0, 0, 0.06) 24%, rgba(0, 0, 0, 0.2) 51%, rgba(0, 0, 0, 0.32) 67%, rgba(0, 0, 0, 0.51) 100%); content: ''; height: 100%; left: 0; pointer-events: none; position: absolute; top: 0; width: 100%; } .article-hero__background img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .article-hero__background--parallax img { -webkit-transform: scale(1.1); transform: scale(1.1); } .article-hero a { color: #fff; letter-spacing: 3px; text-decoration: none; } .article-hero__content-cta { clear: both; font-size: 16px; font-weight: 400; letter-spacing: 4px; line-height: 20px; max-width: 170px; pointer-events: all; text-shadow: 0 2px 4px rgba(0, 0, 0, 0.5); text-transform: uppercase; } .article-hero__content-cta a { display: -ms-flexbox; display: flex; letter-spacing: 4px; } .article-hero__content-labels { font-size: 12px; letter-spacing: 1px; line-height: 16px; margin-bottom: 20px; pointer-events: all; } .article-hero__content-line { background-color: #fff; border: 0; display: block; float: left; height: 1px; margin-bottom: 18px; margin-right: 300px; margin-top: 25px; width: 120px; } .article-hero__content-right-arrow { position: relative; } .article-hero__content-right-arrow::before { background: #fff; content: ''; height: 2px; left: 5px; margin-top: -1px; opacity: 0.4; position: absolute; top: 50%; -webkit-transition: all 0.3s ease; transition: all 0.3s ease; width: 20px; } .article-hero__content-right-arrow::after { border-right: 2px solid #fff; border-top: 2px solid #fff; content: ''; display: inline-block; height: 10px; left: 16px; margin-top: 5px; opacity: 0.4; position: absolute; -webkit-transform: rotate(45deg); transform: rotate(45deg); width: 10px; } .article-hero__content-right-arrow--small::before { opacity: 1; } .article-hero__content-right-arrow--small::after { margin-top: 6px; opacity: 1; } .article-hero__content-right-arrow img { height: 11px; margin-left: 10px; width: 19px; } .article-hero__content-title { color: #fff; font-size: 50px; line-height: 54px; margin-top: 0; max-width: 450px; pointer-events: all; text-shadow: 0 1px 2px rgba(51, 51, 51, 0.7); } .article-hero__content-title a { letter-spacing: -1.32px; } .article-hero__title-text { display: inline; } .article-hero__content-title > a:hover > div, .article-hero__content-subtitle > a:hover { background-image: -webkit-gradient(linear, left top, right top, color-stop(100%, currentColor), color-stop(0%, transparent)); background-image: linear-gradient(to right, currentColor 100%, transparent 0%); background-position: 0 1.15em; background-repeat: repeat-x; background-size: 100% 2px; } .article-hero__content-subtitle { clear: both; color: #fff; font-size: 23px; font-weight: 500; line-height: 32px; margin-bottom: 16px; margin-top: 0; max-width: 440px; pointer-events: all; text-shadow: 0 1px 2px rgba(51, 51, 51, 0.5); } .article-hero__content-subtitle a { letter-spacing: -1px; } .article-hero__content-title--small { font-size: 30px; line-height: 35px; } .article-hero__content-title--tablet { clear: both; font-size: 32px; letter-spacing: -0.84px; line-height: 42px; max-width: 264px; } .article-hero__content-title--small a { letter-spacing: -0.63px; } .article-hero__down-arrow { background-color: transparent; border: 0; bottom: 0; color: #fff; cursor: pointer; display: inline-block; left: calc(50% - 29px); margin: 0; margin-bottom: 15px; padding: 0; position: absolute; -webkit-transform: scale(0.5); transform: scale(0.5); } .see-more-button-container { color: #fff; } /* stylelint-disable */ @media screen and (min-width: 1000px) { .similar-articles-story { max-width: 900px; } } @media screen and (min-width: 601px) and (max-width: 999px) { .similar-articles-story { max-width: 600px; } } @media screen and (max-width: 600px) { .similar-articles-story { max-width: 300px; } } .related-articles { position: relative; } .related-articles__header { text-align: center; background-color: #000; color: #fff; font-size: 14px; font-weight: normal; letter-spacing: 3px; margin: 0 0 20px; padding: 8px; text-transform: uppercase; } .related-articles__header--bright { margin: 20px 0 1.15ex; font-size: 13px; background-color: #d8d8d8; color: rgba(0, 0, 0, 0.7); letter-spacing: 2px; line-height: 3; } .related-articles__list { list-style: none; padding: 0 0 1.5ex 0; margin: 0; display: -ms-flexbox; display: flex; -ms-flex-flow: row wrap; flex-flow: row wrap; /* .with-numbers */ } .related-articles__list li { -ms-flex-preferred-size: 100%; flex-basis: 100%; display: -ms-flexbox; display: flex; -ms-flex-flow: row nowrap; flex-flow: row nowrap; -ms-flex-pack: start; justify-content: flex-start; -ms-flex-align: stretch; align-items: stretch; -ms-flex-line-pack: stretch; align-content: stretch; } .related-articles__list li > div { -ms-flex: 1 1; flex: 1 1; } .related-articles__list.with-numbers { counter-reset: related-numbers; list-style-image: url(data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7); margin: 0 35px; } .related-articles__list.with-numbers li::before { counter-increment: related-numbers; content: counter(related-numbers); font-weight: bold; font-size: 40px; -ms-flex-item-align: end; align-self: flex-end; line-height: 1.85; font-style: italic; letter-spacing: 0; color: rgba(0, 0, 0, 0.18); -ms-flex: 0.1 0.1; flex: 0.1 0.1; -ms-flex-preferred-size: 1ex; flex-basis: 1ex; padding-right: 1ex; text-align: center; display: block; } .related-articles__list.with-numbers li { margin-bottom: 10px; } .related-articles--wide-layout { background-color: initial; margin-top: 20px; } ul.related-articles__list:not(.list-wide) li { max-width: 100%; } ul.related-articles__list:not(.list-wide).with-borders li:not(:last-of-type) { border-bottom: 1px solid rgba(0, 0, 0, 0.1); } ul.related-articles__list.list-wide li { max-width: 49.8%; } ul.related-articles__list.list-wide.with-borders li { border-bottom: 1px solid rgba(0, 0, 0, 0.1); } .related-article { -ms-flex-align: stretch; align-items: stretch; display: -ms-flexbox; display: flex; -ms-flex-flow: row nowrap; flex-flow: row nowrap; -webkit-box-sizing: border-box; box-sizing: border-box; font-size: 16px; min-height: 90px; } .related-article__image { width: calc(90px + 0.5ex); -ms-flex: 0.3 0.3; flex: 0.3 0.3; min-width: 90px; max-width: calc(90px + 0.5ex); margin: 0; display: block; line-height: 0; -ms-flex-order: -1; order: -1; } .related-article__image img { width: 100%; border: 0; margin: 0 12px 0 0; } .related-article__text { display: -ms-flexbox; display: flex; -ms-flex-flow: column nowrap; flex-flow: column nowrap; width: 100%; -ms-flex-pack: start; justify-content: flex-start; -ms-flex-line-pack: start; align-content: flex-start; position: relative; padding: 12px 6px 12px 0; line-height: 1.5; } .related-article__text a { width: 100%; padding-left: 12px; display: -ms-flexbox; display: flex; text-decoration: none; } .related-article__text a + a { margin-top: 1ex; } .related-article__text br { display: none; } .related-article__title { color: rgba(46, 46, 46, 0.85); letter-spacing: -0.01em; -ms-flex: 1 1; flex: 1 1; } .related-article__title:hover { color: #2e2e2e; } .related-article__collection { display: block; color: #4a4a4a; font-size: 12px; font-weight: bold; letter-spacing: 2.5px; line-height: 1.2; text-decoration: none; text-transform: uppercase; } .related-article__collection span { display: none; } .related-articles__list.square-images .related-article { margin: 0.75ex 0; } .related-articles__list.square-images .related-article:hover { background-color: #f9f9f9; } .related-articles__list.square-images.list-wide .related-article { margin: 1.25ex 1.75ex; } .related-articles__list.round-images a:hover { color: #000; } .related-articles__list.round-images .related-article { margin: 1.25ex 1.75ex; } .related-articles__list.round-images .related-article__title { padding-left: 10px; } .related-articles__list.round-images .related-article__image { width: calc(90px + 15px); max-width: calc(90px + 15px); margin: 0; } .related-articles__list.round-images .related-article__image img { border-radius: 50%; } .related-articles__list.round-images.list-wide .related-article { margin: 1.75ex 1.75ex; } .vertical-story-card-item { cursor: pointer; font-family: 'ReithSans'; height: 456px; margin: 20px 10px; position: relative; width: 297px; } @media only screen and (max-width: 1007px) { .vertical-story-card-item { width: 276px; } } @media only screen and (max-width: 600px) { .vertical-story-card-item { width: 276px; } } .vertical-story-card-item img { width: 100%; } .vertical-story-card-item__content-box { background-color: #fff; bottom: 0; -webkit-box-shadow: 0 0 5px #d8d8d8; box-shadow: 0 0 5px #d8d8d8; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; height: 111px; -ms-flex-pack: center; justify-content: center; position: absolute; right: 0; width: 275px; } @media only screen and (max-width: 1007px) { .vertical-story-card-item__content-box { width: 261px; } } .vertical-story-card-item__content-box h1 { color: #4a4a4a; font-size: 0.75rem; font-weight: bold; letter-spacing: 3px; margin: 0; padding: 0 10px; text-transform: uppercase; } .vertical-story-card-item__content-box h2 { color: #3d3d3d; font-size: 1.3125rem; font-weight: lighter; letter-spacing: -0.06px; line-height: 42px; margin: 0; padding: 0 10px; } /* stylelint-disable property-no-unknown */ .see-more-button { border-bottom: 1px solid #979797; text-align: center; } .see-more-button__inner { background-color: transparent; border: 0; color: #6c6c6c; cursor: pointer; font-size: 14px; letter-spacing: 2.92px; line-height: 19px; margin-bottom: 13px; position: relative; text-transform: uppercase; -webkit-transition: linear 0.6s; transition: linear 0.6s; } .see-more-button__inner-arrow { color: #6c6c6c; font-size: 10px; position: absolute; right: 9px; top: 2px; -webkit-transition: linear 0.3s; transition: linear 0.3s; } .see-more-button__inner-text { margin-right: 24px; } .see-more-button__inner:hover { color: #4a4a4a; } .see-more-button__inner:hover .see-more-button__inner-arrow { color: #4a4a4a; -webkit-transform: rotate(90deg); transform: rotate(90deg); } .vertical-story-group { font-family: 'ReithSans'; position: relative; } .vertical-story-group img { -o-object-fit: cover; object-fit: cover; width: 100%; } .vertical-story-group__image-container { height: 370px; position: relative; width: 100%; } .vertical-story-group__image-container img { height: 100%; } .vertical-story-group__image-mask { background: -webkit-gradient(linear, left top, right top, from(rgba(0, 0, 0, 0.6)), to(rgba(0, 0, 0, 0))); background: linear-gradient(to right, rgba(0, 0, 0, 0.6), rgba(0, 0, 0, 0)); bottom: 0; left: 0; position: absolute; right: 0; top: 0; } .vertical-story-group__heading-container { color: #fff; left: 50%; position: absolute; text-align: center; top: 80px; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); } @media only screen and (max-width: 599px) { .vertical-story-group__heading-container { top: 120px; } } .vertical-story-group__heading-container button { background-color: rgba(0, 0, 0, 0.8); border: 0; color: #fff; cursor: pointer; display: inline-block; font-size: 0.875rem; letter-spacing: 0.183rem; outline: none; padding: 15px 32px; text-align: center; text-decoration: none; } .vertical-story-group__heading-container h1 { font-size: 0.9rem; font-weight: bold; letter-spacing: 3.6px; margin-bottom: 20px; } .vertical-story-group__heading-container h2 { font-size: 2.1rem; font-weight: lighter; letter-spacing: -0.25px; line-height: 42px; } .vertical-story-group__heading-container-landscape { display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; left: 0; margin-left: auto; margin-right: auto; position: absolute; right: 0; top: 65px; width: 70%; } @media only screen and (max-width: 599px) { .vertical-story-group__heading-container-landscape { -ms-flex-align: center; align-items: center; -ms-flex-direction: column; flex-direction: column; } } .vertical-story-group__heading-container-landscape h1 { color: #fff; font-size: 2.25rem; font-weight: lighter; letter-spacing: 0.95px; margin: 0; } .vertical-story-group__heading-container-landscape button { background-color: rgba(0, 0, 0, 0.8); border: 0; color: #fff; cursor: pointer; display: inline-block; font-size: 0.875rem; height: 60px; letter-spacing: 0.183rem; outline: none; padding: 15px 32px; text-align: center; text-decoration: none; width: 260px; } @media only screen and (max-width: 599px) { .vertical-story-group__heading-container-landscape button { margin-top: 50px; } } .vertical-story-group__container { display: -ms-grid; display: grid; grid-auto-rows: minmax(auto, auto); grid-template-columns: repeat(auto-fit, minmax(290px, 310px)); height: 100%; -ms-flex-pack: center; justify-content: center; justify-items: center; margin-top: -210px; width: 100%; } @media only screen and (max-width: 599px) { .vertical-story-group__container { margin-top: -120px; } } /* stylelint-disable property-no-unknown */ .mapContainer .mapTitle { background: transparent; color: #fff; display: block; font-family: 'curiousSans-Bold', Arial, sans-serif; font-size: 0.9rem; font-weight: bold; letter-spacing: 3.6px; line-height: 1.1875em; margin-top: 2%; min-width: 25%; padding: 2%; padding-bottom: 0.375em; padding-left: 8px; padding-right: 16px; padding-top: 0.375em; position: relative; text-align: center; z-index: 100; } @media only screen and (max-width: 600px) { .mapContainer .mapTitle { font-size: 2.4em; } } .mapContainer .styled-line { margin-left: auto; margin-right: auto; } .mapContainer button { background-color: rgba(255, 255, 255, 0.9); border: 0; -webkit-box-sizing: border-box; box-sizing: border-box; cursor: pointer; display: block; height: 60px; outline: none; padding: 2px; width: 60px; } .mapContainer button .gelicon { color: #589e50; font-size: 2.5em; vertical-align: middle; } .mapContainer button:hover { background-color: #f2f2f2; } @media only screen and (max-width: 600px) { .mapContainer button { height: 50px; width: 50px; } .mapContainer button .gelicon { font-size: 2em; } } .mapContainer .navigationPanel { -ms-flex-align: end; align-items: flex-end; bottom: 0; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; left: 50%; max-width: 1200px; padding: 10px; position: absolute; -webkit-transform: translate(-50%, 0); transform: translate(-50%, 0); width: 100%; } .mapContainer .zoomControls { background-color: #fff; } .mapContainer .mapboxgl-popup-content { border-radius: 0; -webkit-box-shadow: 0 3px 0 0 rgba(0, 0, 0, 0.1) !important; box-shadow: 0 3px 0 0 rgba(0, 0, 0, 0.1) !important; cursor: default; font-family: 'curiousSans-Bold', Arial, sans-serif; max-width: 300px; padding: 0 !important; text-align: left; } .mapContainer .mapboxgl-popup-content img { width: 300px; } @media only screen and (max-width: 600px) { .mapContainer .mapboxgl-popup-content { max-width: 190px; } .mapContainer .mapboxgl-popup-content img { width: 190px; } } .mapContainer .mapboxgl-ctrl-logo { display: none !important; } .mapContainer .map-marker svg { -webkit-transition: all 0.1s ease-out; transition: all 0.1s ease-out; } @media only screen and (max-width: 600px) { .mapContainer .map-marker svg { height: 52px; -webkit-transform: scale(0.75); transform: scale(0.75); } } .mapContainer .map-marker-active svg { -webkit-transform: scale(1.3); transform: scale(1.3); } @media only screen and (max-width: 600px) { .mapContainer .map-marker-active svg { height: 52px; -webkit-transform: scale(1); transform: scale(1); } } .mapContainer__articleInfo { padding: 0 18px; } .mapContainer__articleInfo .article-vertical a { color: #4a4a4a; display: block; font-size: 12px; font-weight: bold; letter-spacing: 3px; line-height: 16px; margin-right: auto; margin-top: 20px; text-decoration: none; text-transform: uppercase; } .mapContainer__articleInfo .article-title { font-size: 18px; letter-spacing: -0.21px; line-height: 30px; margin: 0.725em 0; } .mapContainer__articleInfo .article-title a { color: rgba(46, 46, 46, 0.85); text-decoration: none; } @media only screen and (max-width: 600px) { .mapContainer__articleInfo .article-title { font-size: 1.7em; } } .mapContainer__articleInfo .article-author { color: #4a4a4a; display: block; font-size: 14px; font-style: italic; letter-spacing: 0.1px; line-height: 35px; margin: 1.45em 0; text-decoration: none; } .location-header { font-size: 14px; letter-spacing: 2.92px; line-height: 19px; text-transform: uppercase; } .temperature-switcher { background: transparent; border: 0; cursor: pointer; font-size: 14px; font-style: italic; font-weight: 300; white-space: nowrap; } .temperature-switcher:active { color: currentColor; } .temperature-switcher__active { font-weight: bold; } .temperature-switcher span { margin: 0 0.2ex; } .day { --w-day-font-size: 14px; --w-day-temp-font-size: 20px; --w-day-temp-font-size-big: 32px; --w-day-temp-font-weight: 600; --w-day-name-font-weight: 500; -ms-flex-align: center; align-items: center; color: #959595; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; font-size: var(--w-day-font-size); } .day--desktop { --w-day-temp-font-size: 24px; --w-day-temp-font-weight: normal; --w-day-name-font-weight: 600; } .day:first-of-type { color: #4b4b4b; } .day__name { font-weight: var(--w-day-name-font-weight); line-height: 1; margin-bottom: 0.75em; text-transform: uppercase; } .day__symbol-header { display: block; height: 80px; margin: 7px 0 5px; width: 98px; } .day__symbol { display: block; height: 40px; margin: 7px 0 5px; width: 50px; } .day--desktop .day__symbol { height: 60px; margin-top: 15px; width: 70px; } .day__temp { font-size: var(--w-day-temp-font-size); font-weight: var(--w-day-temp-font-weight); line-height: 1.2; margin-top: 0.75em; text-transform: lowercase; } .day__temp--header { color: #4b4b4b; font-size: 32px; font-weight: bold; } .day--mobile:first-of-type { display: -ms-flexbox; display: flex; -ms-flex-flow: row wrap; flex-flow: row wrap; -ms-flex-pack: center; justify-content: center; margin-bottom: 3em; } .day--mobile:first-of-type .day__symbol { height: 60px; margin-right: 10px; overflow: visible; width: 80px; } .day--mobile:first-of-type .day__temp { font-size: var(--w-day-temp-font-size-big); font-weight: bold; margin-top: 0; } .day--mobile:first-of-type .day__location { font-size: 120%; font-weight: 500; margin: 1em 0; } .day--mobile:first-of-type .day__name { color: #959595; } .day--mobile:first-of-type .day__location, .day--mobile:first-of-type .day__name { text-align: center; width: 100%; } .weather { --w-height: 50px; --w-wrapper-margin: 24px; --w-days-flexbasis: 33%; margin-bottom: 2rem; } .weather--desktop { --w-height: 80px; --w-wrapper-margin: 50px; --w-days-flexbasis: initial; margin-bottom: 1rem; } .weather:not(.weather--desktop) .weather__days { -ms-flex-flow: row wrap; flex-flow: row wrap; } .weather:not(.weather--desktop) .day:first-of-type { -ms-flex-preferred-size: 100%; flex-basis: 100%; width: auto; } .weather__separator { border-right: 1px solid #dcdcdc; display: block; height: var(--w-height); } .weather__days { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-preferred-size: var(--w-days-flexbasis); flex-basis: var(--w-days-flexbasis); -ms-flex-pack: space-evenly; justify-content: space-evenly; margin-top: 2.5rem; } .weather__days--desktop { margin-top: 4rem; } .weather__header { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-flow: column; flex-flow: column; -ms-flex-pack: center; justify-content: center; margin-bottom: var(--w-wrapper-margin); } .weather__header button { margin-top: 1.5rem; } .weather__header--desktop { /* position the temperature switcher on desktop */ position: relative; } .weather__header--desktop button { margin: 0; position: absolute; right: 0; } /* stylelint-disable property-no-unknown */ .beta-btn { background-color: #e6711b; color: #fff; cursor: pointer; height: 25px; line-height: 12px; padding: 0 7px; width: 66px; } .beta-btn:hover .beta-btn__arrow { cursor: pointer; -webkit-transform: rotate(45deg); transform: rotate(45deg); } .beta-btn:hover .beta-btn__arrow--expanded { -webkit-transform: rotate(-35deg); transform: rotate(-35deg); } .beta-btn__copy { color: #444; display: block; font-size: 12px; letter-spacing: 0; line-height: 17px; margin: 16px auto; max-width: 50%; } .beta-btn__arrow { border: solid #fff; border-width: 0 2px 2px 0; display: inline-block; padding: 3px; position: relative; top: -1px; -webkit-transform: rotate(-45deg); transform: rotate(-45deg); -webkit-transition: 0.4s; transition: 0.4s; } .beta-btn__arrow--expanded { -webkit-transform: rotate(45deg); transform: rotate(45deg); } .image-card { position: relative; } .image-card img { -o-object-fit: cover; object-fit: cover; width: 100%; } .image-card__heading-container { color: #fff; left: 50%; position: absolute; text-align: center; top: 80px; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); } .image-card__heading-container button { background-color: rgba(0, 0, 0, 0.8); border: 0; color: #fff; cursor: pointer; display: inline-block; font-size: 0.875rem; letter-spacing: 0.183rem; outline: none; padding: 15px 32px; text-align: center; text-decoration: none; } .image-card__heading-container h1 { font-size: 0.9rem; font-weight: bold; letter-spacing: 3.6px; margin-top: 0; } .image-card__heading-container h2 { font-size: 2.1rem; font-weight: lighter; letter-spacing: -0.25px; line-height: 42px; margin-top: 0; } .image-card__heading-container-landscape { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; left: 50%; position: absolute; text-align: center; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); width: 90%; } .image-card__heading-container-landscape__mobile { -ms-flex-align: center; align-items: center; -ms-flex-direction: column; flex-direction: column; } .image-card__heading-container-landscape h1 { color: #fff; font-size: 2.25rem; font-weight: lighter; letter-spacing: 0.95px; margin-top: 0; } .image-card__heading-container-landscape button { background-color: rgba(0, 0, 0, 0.8); border: 0; color: #fff; cursor: pointer; display: inline-block; font-size: 0.875rem; height: 60px; letter-spacing: 0.183rem; outline: none; padding: 15px 32px; text-align: center; text-decoration: none; width: 260px; } .destination-header { width: 100%; } .destination-header__container { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; min-height: 380px; overflow: hidden; padding: 0 16px; position: relative; } .destination-header__image { height: 100%; overflow: hidden; position: absolute; width: 100%; } .destination-header__image img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .destination-header__text { color: #fff; font-size: 28px; letter-spacing: -0.95px; line-height: 37.4px; max-width: 488px; padding: 0 20px; position: relative; text-align: center; text-transform: uppercase; width: 100%; } .destination-header__text a { color: #fff; font-weight: 300; text-decoration: none; } .destination-header__text--desktop { font-size: 36px; } .destination-header__text-container { border-bottom: solid 1px #fff; display: inline-block; line-height: 1.3; padding-bottom: 17px; } .destination-header__text-container--desktop { padding-bottom: 0.75ex; } .destination-header__link-page, .destination-header__advert { color: #fff; font-size: 12px; letter-spacing: 0.5px; margin-top: 20px; position: relative; text-align: center; } .destination-header__link-page span, .destination-header__advert span { display: block; width: 100%; } .destination-header__link-page--desktop, .destination-header__advert--desktop { margin-top: 40px; } .destination-header__link-page { left: 14px; margin: 0; position: absolute; text-transform: uppercase; top: 20px; } .destination-header__link-page--desktop { left: 25px; top: 36px; } .destination-header__background { background-image: radial-gradient(50% 49%, rgba(5, 36, 53, 0.37) 50%, rgba(0, 0, 0, 0) 83%); height: 100%; pointer-events: none; position: absolute; top: 0; width: 100%; } .destination-header a { color: #fff; text-decoration: none; } .filter { display: inline-block; max-width: 160px; position: relative; } .filter__button { background-color: #000; border: 0; color: #fff; font-size: 16px; padding: 16px; width: 160px; } .filter__content { background-color: #000; display: none; position: absolute; width: 160px; z-index: 1; } .filter:focus .filter__content, .filter:hover .filter__content { display: block; } .filter__content--open { display: block; } .filter__content button { background-color: #000; border: 0; color: #fff; cursor: pointer; display: block; font-style: italic; padding: 12px 16px; text-decoration: none; width: 100%; } .filter__content button:hover { background-color: #494848; } .callout-box-card { background-color: #eaeaea; color: #4a4a4a; margin-left: auto; margin-right: auto; text-align: left; } .callout-box-card img { height: 100%; width: 100%; } .callout-box-card__container { padding: 0.2rem 1.5rem; } .callout-box-card__container h3 { font-size: 12px; font-weight: bold; letter-spacing: 3px; line-height: 16px; margin: 1rem 0; text-transform: uppercase; } .callout-box-card__container h4 { font-size: 28px; font-weight: lighter; letter-spacing: -0.21px; line-height: 35px; } .callout-box-card__container .body { font-size: 16px; font-weight: lighter; letter-spacing: -0.12px; line-height: 31px; } .callout-box-card__container .body a { color: #4a4a4a; font-weight: bold; text-decoration: none; } /* stylelint-disable property-no-unknown */ .see-more-button { border-bottom: 1px solid #979797; text-align: center; } .see-more-button-inner { background-color: transparent; border: 0; color: #6c6c6c; cursor: pointer; font-size: 14px; letter-spacing: 2.92px; line-height: 19px; margin-bottom: 13px; position: relative; text-transform: uppercase; } .see-more-button-inner--light { color: #b4b4b4; } .see-more-button-inner__arrow { color: #6c6c6c; font-size: 10px; position: absolute; right: 9px; top: 2px; } .see-more-button-inner__arrow--light { color: #b4b4b4; } .see-more-button-inner__text { margin-right: 24px; } /* stylelint-disable property-no-unknown */ .load-more-button { -webkit-box-sizing: border-box; box-sizing: border-box; } .load-more-button__refresh.gelicon--refresh { margin-right: 16px; -webkit-transform: rotate(90deg); transform: rotate(90deg); } .load-more-button__downarrow { color: #adadad; font-size: 22px; -webkit-transition: 0.6s; transition: 0.6s; } .load-more-button__loading .load-more-button__refresh.gelicon--refresh { -webkit-animation: spin 2s linear infinite; animation: spin 2s linear infinite; } .load-more-button__downarrow:first-of-type { padding-right: 16px; } .load-more-button__downarrow:not(:first-of-type) { padding-left: 16px; } @-webkit-keyframes spin { 0% { -webkit-transform: rotate(90deg); transform: rotate(90deg); } 100% { -webkit-transform: rotate(-270deg); transform: rotate(-270deg); } } @keyframes spin { 0% { -webkit-transform: rotate(90deg); transform: rotate(90deg); } 100% { -webkit-transform: rotate(-270deg); transform: rotate(-270deg); } } /* stylelint-disable property-no-unknown */ .basic-button { -ms-flex-align: center; align-items: center; background-color: #fff; border: 1px solid #adadad; border-radius: 4px; -webkit-box-shadow: inset 0 0 0 0 #fff, 0 2px 0 0 rgba(0, 0, 0, 0.08); box-shadow: inset 0 0 0 0 #fff, 0 2px 0 0 rgba(0, 0, 0, 0.08); color: #193e6d; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 20px; height: 54px; -ms-flex-pack: center; justify-content: center; min-width: 222px; text-align: center; -webkit-transition: 0.6s; transition: 0.6s; } .basic-button--worklife { color: #0052a1; } .basic-button--future { color: #002856; } .basic-button--culture { color: #472479; } .basic-button--earth { color: #0fbb56; } .basic-button--travel { color: #589e50; } .basic-button__text { color: #444; font-family: 'BBC Reith Sans Cd'; font-size: 18px; line-height: 24px; -webkit-transition: 0.6s; transition: 0.6s; } .basic-button__text--white { color: #fff; } .basic-button__text--curious { font-family: 'CuriousSansBold'; } .basic-button__text--worklife { color: #0052a1; } .basic-button__text--future { color: #002856; } .basic-button__text--culture { color: #472479; } .basic-button__text--earth { color: #0fbb56; } .basic-button__text--travel { color: #589e50; } .basic-button::before { padding-right: 16px; } .basic-button:hover { background-color: #dedede; } .basic-button--background-light-blue:hover { background-color: #dfe8ff; } .basic-button--background-worklife { background-color: #0052a1; } .basic-button--background-future { background-color: #002856; } .basic-button--background-culture { background-color: #472479; } .basic-button--background-earth { background-color: #0fbb56; } .basic-button--background-travel { background-color: #589e50; } .basic-button--background-worklife:hover { background-color: #4494e4; } .basic-button--background-future:hover { background-color: #ffc857; } .basic-button--background-culture:hover { background-color: #472479; } .basic-button--background-earth:hover { background-color: #002856; } .basic-button--background-travel:hover { background-color: #002856; } .basic-button__text--bold { font-weight: bold; } /* stylelint-disable property-no-unknown */ .read-more-button { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; font-weight: bold; position: relative; width: 224px; } /* stylelint-disable property-no-unknown */ .AdFrame { display: -ms-inline-flexbox; display: inline-flex; } .AdFrame--default { background-color: #f6f6f6; } .AdFrame--dark-grey { background-color: rgba(26, 26, 26, 0.8); } .AdFrame--centre-aligned { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; } /* stylelint-disable property-no-unknown */ .text-with-styled-background { height: inherit; position: relative; width: 100%; } .text-with-styled-background--collection { display: inline-block; width: unset; } .text-with-styled-background--center-align { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .text-with-styled-background__text { font-family: 'CuriousSansBold'; color: #444; display: block; font-size: 20px; line-height: 24px; padding: 0 0 0 10px; position: relative; } .text-with-styled-background__text--large { font-size: 26px; line-height: 30px; padding: 0 0 0 24px; } .text-with-styled-background__text--medium { font-size: 22px; line-height: 28px; } .text-with-styled-background__text--remove-padding { padding: 0; width: 100%; } .text-with-styled-background__text--largest { font-size: 38px; line-height: 47px; } .text-with-styled-background__text--worklife { color: #0052a1; } .text-with-styled-background__text--future { color: #002856; } .text-with-styled-background__text--culture { color: #472479; } .text-with-styled-background__text--earth { color: #0fbb56; } .text-with-styled-background__text--travel { color: #589e50; } .text-with-styled-background__text--blue { color: #0052a1; } .text-with-styled-background__text--collection { font-size: 28px; line-height: 34px; padding: 0; } .text-with-styled-background__text--collection--medium { font-size: 32px; line-height: 38px; } .text-with-styled-background__text--collection--large { font-size: 38px; line-height: 47px; } .text-with-styled-background__line-container { bottom: 0; margin-left: 13px; position: absolute; width: calc(100% - 26px); } .text-with-styled-background__line { background-color: rgba(25, 62, 109, 0.05); height: 26px; max-width: 240px; position: relative; } .text-with-styled-background__line--large { bottom: -10px; height: 42px; max-width: 340px; } .text-with-styled-background__line--narrow { height: 26px; max-width: 100%; } .text-with-styled-background__line--medium { bottom: -10px; height: 36px; max-width: 340px; } .text-with-styled-background__line--largest { max-width: 100%; } .text-with-styled-background__line-container--collection { width: calc(100% + 26px); } .text-with-styled-background__line-container--no-margin { margin: 0; } .text-with-styled-background__line--collection { height: 26px; } /* stylelint-disable property-no-unknown */ .previous-media-button { -ms-flex-align: center; align-items: center; background-color: #000; border: 0; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 16px; height: 50px; -ms-flex-pack: center; justify-content: center; outline: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; } .previous-media-button__icon--white svg { fill: #fff; } .previous-media-button span { height: 18px; width: 16px; } /* stylelint-disable property-no-unknown */ .simple-header { color: #444; font-size: 18px; font-weight: bold; line-height: 24px; margin: 0; } .simple-header--large { font-size: 28px; line-height: 34px; } .simple-header--simple { font-size: 18px; line-height: 22px; } .simple-header--small { font-size: 18px; letter-spacing: -0.5px; line-height: 28px; } .simple-header--smallest { font-family: Helvetica; font-size: 14px; line-height: 24px; } .simple-header--medium { font-size: 24px; line-height: 28px; } .simple-header--regular { font-size: 22px; line-height: 28px; } .simple-header--condensed-bold { font-stretch: condensed; } .simple-header--condensed-bold.simple-header--large { line-height: 37px; } .simple-header--condensed-bold.simple-header--regular { line-height: 28px; } .simple-header--white { color: #fff; } /* stylelint-disable property-no-unknown */ .play-button__inline-audio, .play-button__inline-video { -ms-flex-align: center; align-items: center; background-color: #000; border: 0; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 16px; height: 49px; -ms-flex-pack: center; justify-content: center; outline: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 49px; } .play-button__inline-audio .gelicon--play, .play-button__inline-video .gelicon--play { color: #ececec; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; } .play-button__inline-audio--worklife .gelicon--play, .play-button__inline-video--worklife .gelicon--play { color: #8beed9; } .play-button__inline-audio--travel .gelicon--play, .play-button__inline-video--travel .gelicon--play { color: #002856; } .play-button__inline-audio--future .gelicon--play, .play-button__inline-video--future .gelicon--play { color: #ffc857; } .play-button__inline-audio--culture .gelicon--play, .play-button__inline-video--culture .gelicon--play { color: #472479; } .play-button__inline-audio--earth .gelicon--play, .play-button__inline-video--earth .gelicon--play { color: #002856; } .play-button__inline-video:hover { background-color: #ececec; } .play-button__inline-video:hover .gelicon--play { color: #000; } .play-button__inline-audio { color: #fff; font-size: 22px; height: 50px; padding: 0; width: 50px; } .play-button { -ms-flex-align: center; align-items: center; background-color: rgba(0, 0, 0, 0.2); border: 2px solid #5ae9cb; border-radius: 50%; -webkit-box-shadow: 0 2px 4px 0 rgba(0, 0, 0, 0.2); box-shadow: 0 2px 4px 0 rgba(0, 0, 0, 0.2); color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 22px; height: 80px; -ms-flex-pack: center; justify-content: center; outline: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 80px; } .play-button:hover { color: #5ae9cb; } .play-button--white { border: 4px solid #fff; } .play-button--white:hover { color: #fff; } .play-button--white .gelicon--play { color: inherit; } .play-button--worklife { border: 2px solid #8beed9; } .play-button--worklife:hover { color: #8beed9; } .play-button--travel { border: 2px solid #002856; } .play-button--travel:hover { color: #002856; } .play-button--future { border: 2px solid #ffc857; } .play-button--future:hover { color: #ffc857; } .play-button--culture { border: 2px solid #472479; } .play-button--culture:hover { color: #472479; } .play-button--earth { border: 2px solid #002856; } .play-button--earth:hover { color: #002856; } .play-button--desktop { font-size: 30px; height: 76px; width: 76px; } .play-button--background-hover:hover { background-color: rgba(0, 0, 0, 0.6); } /* stylelint-disable property-no-unknown */ .error-button { -ms-flex-align: center; align-items: center; background-color: #000; border: 0; display: -ms-flexbox; display: flex; font-size: 22px; height: 50px; -ms-flex-pack: center; justify-content: center; outline: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; } .error-button .gelicon--alert { color: #ececec; } /* stylelint-disable property-no-unknown */ .simple-p-tag { color: #444; font-size: 18px; font-weight: bold; line-height: 24px; margin: 0; } .simple-p-tag--large { font-size: 28px; line-height: 34px; } .simple-p-tag--medium { font-size: 27px; letter-spacing: -1.69px; line-height: 32px; } .simple-p-tag--quote { color: #575757; } .simple-header--serif-light-italic { font-style: italic; line-height: inherit; } /* stylelint-disable property-no-unknown */ .text-summary__text { font-size: 16px; line-height: 24px; margin: 0; text-align: left; } .text-summary__text--blue { color: #193e6d; } .text-summary__text--black { color: #000; } .text-summary__text--grey { color: #6a6a6a; } .text-summary__text--dark-grey { color: #444; } .text-summary__text--left { text-align: left; } .text-summary__text--right { text-align: right; } .screen-reader-only { border: 0; clip: rect(1px, 1px, 1px, 1px); -webkit-clip-path: inset(50%); clip-path: inset(50%); height: 1px; margin: -1px; overflow: hidden; padding: 0; position: absolute !important; width: 1px; word-wrap: normal !important; } .inline-html { display: block; } /* stylelint-disable property-no-unknown */ .drop-capped { -ms-flex-align: center; align-items: center; border: 2px solid #444; color: #444; display: -ms-flexbox; display: flex; float: left; font-size: 58px; font-weight: bold; height: 84px; -ms-flex-pack: center; justify-content: center; margin: 8px 10px 4px 0; text-transform: uppercase; width: 84px; } .drop-capped--worklife { border-color: #8beed9; } .drop-capped--future { border-color: #ffc857; } .drop-capped--culture { border-color: #444; } .drop-capped--earth { border-color: #002856; } .drop-capped--travel { border-color: #002856; } .drop-capped--desktop { margin-right: 24px; } /* stylelint-disable property-no-unknown */ .close-nav { -ms-flex-align: center; align-items: center; background-color: unset; border: unset; cursor: pointer; display: -ms-flexbox; display: flex; position: relative; -webkit-transition: 0.4s; transition: 0.4s; } .close-nav__icon { color: #fff; display: -ms-flexbox; display: flex; font-size: 20px; -webkit-transition: 0.4s; transition: 0.4s; } .close-nav:hover .close-nav__icon { color: #cecece; -webkit-transform: rotate(90deg); transform: rotate(90deg); } .close-nav__label { display: inline-block; margin-right: 12px; } /* stylelint-disable property-no-unknown */ .nav-label { color: #4e4e4e; font-size: 16px; line-height: 22px; margin: auto; max-width: 1280px; -webkit-transition: 0.4s; transition: 0.4s; } .nav-label:hover { color: #8e8e8e; } .nav-label--menu { color: #ebebeb; } .nav-label--menu:hover { color: #cecece; } .nav-label--white { color: #fff; } .nav-label--curiousSans { font-family: 'CuriousSansBold'; } /* stylelint-disable property-no-unknown */ .nav-links__link { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; height: 100%; -ms-flex-pack: center; justify-content: center; padding-right: 24px; position: relative; text-decoration: none; white-space: nowrap; } .nav-links__link--active p { border-bottom: 2px solid #002856; font-weight: bold; } .nav-links__link--active--menu p { border-bottom: unset; } .nav-links__link--active--worklife p { border-bottom: 2px solid #0052a1; } .nav-links__link--active--culture p { border-bottom: 2px solid #472479; } .nav-links__link--active--earth p { border-bottom: 2px solid #0fbb56; } .nav-links__link--active--travel p { border-bottom: 2px solid #589e50; } .nav-links__icon { background-color: #0052a1; bottom: 10px; height: 2px; position: absolute; width: 80px; } .nav-links__link--menu { display: block; padding-right: unset; } .nav-links__icon--menu { display: none; } .nav-links__icon--menu-tablet { width: 60px; } .nav-links__icon--worklife { background-color: #0052a1; } .nav-links__icon--future { background-color: #002856; } .nav-links__icon--culture { background-color: #472479; } .nav-links__icon--earth { background-color: #0fbb56; } .nav-links__icon--travel { background-color: #589e50; } .nav-links__link--menu p { font-size: 26px; padding: 0 0 32px 24px; } .nav-links__link--menu-desktop p { font-size: 32px; line-height: 42px; padding: 0 0 44px 100px; } /* stylelint-disable property-no-unknown */ .burger-nav { background: transparent; border: 0; color: #0052a1; cursor: pointer; font-size: 20px; outline: none; padding: 0; } .burger-nav--worklife { color: #0052a1; } .burger-nav--future { color: #002856; } .burger-nav--culture { color: #472479; } .burger-nav--earth { color: #0fbb56; } .burger-nav--travel { color: #589e50; } .burger-nav--medium { font-size: 16px; } .burger-nav--small { font-size: 12px; } /* stylelint-disable property-no-unknown */ .nav-menu { background-color: #0052a1; display: block; height: 100%; left: 0; min-height: 100vh; opacity: 0.98; overflow: auto; position: fixed; top: 0; width: 100vw; } .nav-menu--worklife { background-color: #0052a1; } .nav-menu--future { background-color: #002856; } .nav-menu--culture { background-color: #472479; } .nav-menu--earth { background-color: #0fbb56; } .nav-menu--travel { background-color: #589e50; } .nav-menu__close-nav { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; margin: auto; max-width: 1280px; padding: 16px 8px 60px; } .nav-menu__close-nav--desktop { padding: 20px 16px 70px; } .nav-menu__sponsored { background-color: rgba(34, 34, 34, 0.5); height: 100%; margin-bottom: 32px; } .nav-menu__sponsored--desktop { margin-bottom: 44px; } .nav-menu__sponsored-container { padding: 20px 16px 16px 24px; } .nav-menu__sponsored--desktop-container { margin: auto; max-width: 1264px; padding: 20px 16px 20px 100px; } .nav-menu__follow-us { padding: 52px 0 34px; } /* stylelint-disable property-no-unknown */ .ad-slot { display: inline-block; } .ad-slot__container { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .ad-slot__label { max-width: 120px; min-width: 112px; padding-right: 8px; text-align: right; } .ad-slot--leaderboard { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; } .ad-slot__label--mpu, .ad-slot__label--leaderboard { margin-bottom: 8px; max-width: unset; padding-right: unset; text-align: right; } .ad-slot__container--mpu, .ad-slot__container--leaderboard { display: inline-block; -ms-flex-wrap: unset; flex-wrap: unset; } .ad-slot__fake--sponsor { background-color: #5ae9cb; height: 31px; min-width: 88px; } .ad-slot__fake--mpu { background-color: #5ae9cb; height: 250px; min-width: 300px; } .ad-slot__fake--mpu-large { background-color: #5ae9cb; height: 600px; min-width: 300px; } .ad-slot__fake--leaderboard-large { background-color: #5ae9cb; height: 90px; min-width: 728px; } .ad-slot__fake--leaderboard-medium { background-color: #5ae9cb; height: 50px; min-width: 320px; } .ad-slot__fake--leaderboard-small { background-color: #5ae9cb; height: 50px; min-width: 300px; } .ad-slot__label--dark { color: #dcdcdc; } .ad-slot--dark { background-color: #f6f6f6; padding: 8px; } .ad-slot--black { background-color: rgba(26, 26, 26, 0.8); padding: 8px; } .open-nav { -ms-flex-align: center; align-items: center; background-color: unset; border: unset; cursor: pointer; display: -ms-flexbox; display: flex; -ms-flex-pack: end; justify-content: flex-end; padding: 0; position: relative; -webkit-transition: 0.4s; transition: 0.4s; } .open-nav__icon { display: -ms-flexbox; display: flex; } .open-nav__label { display: inline-block; margin-right: 12px; } .play-icon { background: transparent; border: 0; color: #fff; font-size: 12px; outline: none; padding: 0; } .play-icon--red { color: #f00; } .play-icon--grey { color: #999; } .play-icon--medium { font-size: 16px; } .play-icon--large { font-size: 20px; } .camera-icon { background: transparent; border: 0; color: #fff; font-size: 12px; outline: none; padding: 0; } .camera-icon--red { color: #f00; } .camera-icon--grey { color: #999; } .camera-icon--medium { font-size: 16px; } .camera-icon--large { font-size: 20px; } /* stylelint-disable property-no-unknown */ .nav-build-bar { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; height: auto; margin: auto; max-width: 1280px; width: 100%; } .nav-build-bar--mobile { height: auto; -ms-flex-pack: justify; justify-content: space-between; } .nav-build-bar--mobile .nav-build-bar__title-content { white-space: pre-wrap; } .nav-build-bar--tablet { height: 58px; } .nav-build-bar--desktop { height: 60px; } .nav-build-bar__links { display: -ms-flexbox; display: flex; -ms-flex-wrap: wrap; flex-wrap: wrap; height: 100%; -ms-flex-pack: end; justify-content: flex-end; margin-left: auto; overflow: hidden; } .nav-build-bar__sponsored-brand { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; margin-left: 8px; text-decoration: none; white-space: nowrap; } .nav-build-bar__sponsored-brand--no-brand { margin-left: 0; } .nav-build-bar__branding { display: -ms-flexbox; display: flex; padding: 0 8px 0 0; } .nav-build-bar__branding--tablet { padding: 0 30px 0 0; } .nav-build-bar__branding--desktop { padding: 0 80px 0 0; } .nav-build-bar__title-content { border: 1.78px solid; color: #444; font-size: 22px; font-weight: bold; margin: unset; padding: 8px; width: -webkit-fit-content; width: -moz-fit-content; width: fit-content; } .nav-build-bar__title-content--tablet { font-size: 24px; white-space: nowrap; } .nav-build-bar__title-content--desktop { font-size: 28px; } .nav-build-bar__open-nav { display: -ms-flexbox; display: flex; height: 48px; } .nav-build-bar__open-nav-button { display: -ms-flexbox; display: flex; padding-left: 8px; } .nav-build-bar__sponsored { background-color: #f6f6f6; border: 1px solid #d3d3d3; height: 48px; padding: 0 16px; } .nav-build-bar__open-nav--desktop { padding-right: 16px; } .nav-build-bar__open-nav--mobile { -ms-flex-pack: end; justify-content: flex-end; max-width: 100px; width: 100%; } .info-icon { background: transparent; border: 0; color: #fff; font-size: 12px; outline: none; padding: 0; } .info-icon--red { color: #f00; } .info-icon--grey { color: #999; } .info-icon--medium { font-size: 16px; } .info-icon--large { font-size: 20px; } /* stylelint-disable property-no-unknown */ .styled-dot { background-color: #5ae9cb; border-radius: 50%; -webkit-box-shadow: 0 1px 2px 0 rgba(25, 62, 109, 0.5); box-shadow: 0 1px 2px 0 rgba(25, 62, 109, 0.5); cursor: pointer; display: inline-block; height: 6px; width: 6px; } .styled-dot--no-cursor { cursor: unset; } .styled-dot--medium { -webkit-box-shadow: unset; box-shadow: unset; height: 10px; width: 10px; } .styled-dot--dark-blue { background-color: #193e6d; } .styled-dot--purple { background-color: #362e67; -webkit-box-shadow: unset; box-shadow: unset; } .styled-dot--black { background-color: #000; -webkit-box-shadow: unset; box-shadow: unset; } .styled-dot--grey-green { background-color: #008e9b; -webkit-box-shadow: unset; box-shadow: unset; } .styled-dot--dark-green { background-color: #589e50; -webkit-box-shadow: unset; box-shadow: unset; } .styled-dot--worklife { background-color: #8beed9; } .styled-dot--future { background-color: #ffc857; } .styled-dot--culture { background-color: #472479; } .styled-dot--earth { background-color: #002856; } .styled-dot--travel { background-color: #002856; } .styled-dot--worklife-prime { background-color: #0052a1; } .styled-dot--future-prime { background-color: #002856; } .styled-dot--culture-prime { background-color: #472479; } .styled-dot--earth-prime { background-color: #0fbb56; } .styled-dot--travel-prime { background-color: #589e50; } .styled-dot--large { -webkit-box-shadow: 0 1px 1px 0 rgba(25, 62, 109, 0.5); box-shadow: 0 1px 1px 0 rgba(25, 62, 109, 0.5); height: 16px; width: 16px; } .styled-dot--small { -webkit-box-shadow: unset; box-shadow: unset; height: 8px; width: 8px; } .styled-dot--grey { background-color: rgba(0, 0, 0, 0.2); } /* stylelint-disable property-no-unknown */ .email-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 11px; height: 50px; -ms-flex-pack: center; justify-content: center; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .email-icon:hover { background-color: #000; } .email-icon--red:hover { background-color: #f00; } /* stylelint-disable property-no-unknown */ .facebook-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 15px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .facebook-icon:hover { background-color: #3b5998; } .facebook-icon--blue { background-color: transparent; border: 1px solid #3b5998; color: #3b5998; } .facebook-icon--blue:hover { background-color: #3b5998; color: #fff; } .facebook-icon--white { background-color: transparent; border: 1px solid #fff; color: #fff; } .facebook-icon--white:hover { background-color: #fff; color: #3b5998; } .facebook-icon--small { font-size: 20px; height: 38px; width: 38px; } /* stylelint-disable property-no-unknown */ .hero-header { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .hero-header__header { font-family: 'CuriousSansBold'; color: #fff; font-size: 38px; line-height: 40px; margin: 0; text-shadow: 0 1px 2px rgba(25, 62, 109, 0.7); } .hero-header__header--large { font-size: 44px; line-height: 48px; } .hero-header__header--medium { font-size: 38px; line-height: 47px; } .hero-header__header--small { font-size: 28px; line-height: 34px; } .hero-header__header--black { color: #000; text-shadow: unset; } .hero-header__header--grey { color: #adadad; text-shadow: unset; } .ticked-icon { -ms-flex-align: center; align-items: center; background-color: #13de99; border-radius: 50%; -webkit-box-shadow: 0 2px 4px 0 rgba(0, 0, 0, 0.2); box-shadow: 0 2px 4px 0 rgba(0, 0, 0, 0.2); display: -ms-flexbox; display: flex; height: 50px; -ms-flex-pack: center; justify-content: center; width: 50px; z-index: 55; } .ticked-icon--small { font-size: 12px; height: 38px; width: 38px; } /* stylelint-disable property-no-unknown */ .google-plus-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 26px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .google-plus-icon:hover { background-color: #d34836; } .google-plus-icon--red:hover { background-color: #f00; } /* stylelint-disable property-no-unknown */ .reddit-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 26px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .reddit-icon:hover { background-color: #ff4500; } .reddit-icon__hide { display: none; } .reddit-icon--red:hover { background-color: #f00; } /* stylelint-disable property-no-unknown */ .linkedin-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 13px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .linkedin-icon:hover { background-color: #0077b5; } .linkedin-icon--red:hover { background-color: #f00; } .share-button { -ms-flex-align: center; align-items: center; background-color: #fff; border: 1px solid #e4e4e4; color: #444; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 12px; font-weight: bold; -ms-flex-pack: center; justify-content: center; letter-spacing: 3px; padding: 18px 16px; text-transform: uppercase; -webkit-transition: 0.6s; transition: 0.6s; width: 110px; z-index: 55; } .share-button .gelicon--share { margin-right: 10px; -webkit-transition: 0.3s ease-in; transition: 0.3s ease-in; } .share-button:hover .gelicon--share, .share-button .gelicon--share-sharing { -webkit-transform: rotate(-180deg); transform: rotate(-180deg); } /* stylelint-disable property-no-unknown */ .whatsapp-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 13px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .whatsapp-icon:hover { background-color: #25d366; } .whatsapp-icon--red:hover { background-color: #f00; } /* stylelint-disable property-no-unknown */ .twitter-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 13px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .twitter-icon:hover { background-color: #1da1f2; } .twitter-icon--light-blue { background-color: transparent; border: 1px solid #1da1f2; color: #1da1f2; } .twitter-icon--light-blue:hover { background-color: #1da1f2; color: #fff; } .twitter-icon--white { background-color: transparent; border: 1px solid #fff; color: #fff; } .twitter-icon--white:hover { background-color: #fff; color: #1da1f2; } .twitter-icon--small { font-size: 18px; height: 38px; width: 38px; }/* stylelint-disable */ html, body { margin: 0; padding: 0; } #root *, #root *::before, #root *::after { box-sizing: border-box; } #root article, #root aside, #root figure, #root footer, #root header, #root nav, #root section { display: block; } body { background: #fff; } .app__body { display: flex; flex-direction: column; min-height: 100vh; overflow: visible; position: relative; } .app__domestic-disclaimer { bottom: 0; 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.loader__body { display: none; left: 50%; position: fixed; top: 50%; transform: translateX(-50%) translateY(-50%); } .loader__body--show-loader { display: block; } .no-js .loader { display: none; } .index { display: block; margin-bottom: 16px; } @media (min-width: 600px) { .index { margin-bottom: 24px; } } .index__article-hero { margin-bottom: 27px; } .index .article-hero__content { margin-top: 60px; } .index__latest-articles { width: 100%; } @media (max-width: 599px) { .index__latest-articles { margin-top: 8px; padding: 0; } } @media (min-width: 768px) { .index__latest-articles { margin: auto; max-width: 1248px; padding: 24px 16px 0; } } @media (min-width: 600px) and (max-width: 1007px) { .index__latest-articles { margin: auto; max-width: 990px; padding-top: 8px; } } @media (min-width: 1008px) and (max-width: 1279px) { .index__latest-articles { margin: auto; max-width: 976px; } } .index__load-more { display: flex; justify-content: center; padding: 0 0 24px; } .index__storyworks-section { margin: auto; max-width: 1248px; padding: 16px 0 0; } @media (min-width: 1008px) { .index__storyworks-section { padding: 16px 16px 0; } } @media (min-width: 600px) and (max-width: 1007px) { .index__storyworks-section { margin: auto; max-width: 990px; padding: 8px 16px 0; } } @media (min-width: 1008px) and (max-width: 1279px) { .index__storyworks-section { max-width: 976px; } } .index__storyworks-section > div > div.bbccom_visible { background: #f1f1f1 !important; display: inline-block; width: 100%; } .index__more-articles { margin: auto; max-width: 1248px; padding: 16px 0 0; } @media (min-width: 1008px) { .index__more-articles { padding: 16px 16px 0; } } @media (min-width: 600px) and (max-width: 1007px) { .index__more-articles { margin: auto; max-width: 990px; padding: 8px 0 0; } } @media (min-width: 1008px) and (max-width: 1279px) { .index__more-articles { max-width: 976px; } } .index__full-width-image-article { padding-top: 8px; } .index__stories-container { margin: 16px 16px 0; } @media (min-width: 300px) and (max-width: 399px) { .index__stories-container { margin: 16px 8px 0; } } @media (min-width: 1008px) { .index__stories-container { margin: auto; max-width: 1248px; } } @media (min-width: 600px) and (max-width: 1007px) { .index__stories-container { margin: auto; max-width: 990px; } } @media (min-width: 1008px) and (max-width: 1279px) { .index__stories-container { max-width: 976px; } } .index__section-header-unit img { width: 100vw; } @media (max-width: 420px) { .index__section-header-unit img { width: 150vw; } } .index__section-header-unit { margin: auto; max-width: 1248px; padding: 8px 8px 0; } @media (min-width: 1008px) { .index__section-header-unit { padding: 16px 16px 0; } } @media (min-width: 600px) and (max-width: 1007px) { .index__section-header-unit { max-width: 990px; padding: 16px 8px 0; } } @media (min-width: 600px) and (max-width: 767px) { .index__section-header-unit { padding-bottom: 24px; } } @media (max-width: 599px) { .index__section-header-unit { padding: 8px 0; } } @media (min-width: 1008px) and (max-width: 1279px) { .index__section-header-unit { max-width: 976px; } } @media (min-width: 1008px) { .index__latest-articles--desktop-ad { max-width: 1280px; padding: 24px 0 0; } } .latest-articles__container { margin-bottom: 24px; } .latest-articles__container--tablet { margin-bottom: 26px; } .latest-articles__container--desktop { margin-bottom: 32px; } .latest-articles__articles { margin: auto; } .latest-articles__articles--mobile-rectangle { margin: auto; } .latest-articles__articles--tablet-rectangle { margin: auto 8px; } .latest-articles__editor { color: #020202; font-stretch: normal; font-size: 14px; font-style: normal; font-weight: normal; text-align: center; text-transform: uppercase; letter-spacing: 2.92px; margin: 0 0 22px; } .latest-articles__editor--tablet { margin-bottom: 32px; } .latest-articles__editor--desktop { margin-bottom: 36px; } 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100%); } } @media (min-width: 768px) { .index__stories-container { -ms-grid-columns: (33%)[3]; grid-template-columns: repeat(3, 33%); margin: auto; max-width: 950px; row-gap: 24px; } .index__stories-container--advert { max-width: 942px; } } @media (min-width: 600px) { .index__stories-container { margin-top: 24px; } } .index__stories-container--advert { margin-top: 16px; } @media (min-width: 600px) and (max-width: 1007px) { .index-stories__ad-container { -ms-grid-row: 3; -ms-grid-row-span: 2; grid-row: 3 / span 2; } } @media (min-width: 600px) and (max-width: 767px) { .index-stories__ad-container { grid-row: auto; } } @media (min-width: 768px) and (max-width: 1007px) { .index-stories__ad-container { -ms-grid-column: 2; -ms-grid-column-span: 2; grid-column: 2 / span 2; -ms-grid-row: 3; -ms-grid-row-span: 2; grid-row: 3 / span 2; } } .index-stories__story-item { margin: 10px; } @supports (display: grid) { .index-stories__story-item { margin: 0; } } .index-stories__ad-container { display: 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data-bbc-metadata="{"APP":"latest-stories","CHD":"card::1"}" data-bbc-result="https://www.bbc.com/culture/article/20220309-seven-artworks-exploding-the-myth-of-a-movement" data-bbc-client-routed="true" class="rectangle-story-group__article-hero rectangle-story-group__article-hero--tablet"><div class="article-title-card-rectangle b-reith-sans-font"><div class="article-title-card-rectangle__container"><div class="article-title-card-rectangle__image"><a class="article-title-card-rectangle__link" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220309-seven-artworks-exploding-the-myth-of-a-movement"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0btdscv.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0btdscv.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0btdscv.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0btdscv.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0btdscv.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0btdscv.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0btdscv.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0btdscv.jpg" type="image/jpeg"/><img draggable="false" title="Lobster Telephone (1938) by Salvador Dalí (Credit: Tate Purchased 1981 / Salvador Dali, Gala-Salvador Dali Foundation/DACS)" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0btdscv.jpg" alt="Lobster Telephone (1938) by Salvador Dalí (Credit: Tate Purchased 1981 / Salvador Dali, Gala-Salvador Dali Foundation/DACS)" id=""/></picture><span class="article-title-card-rectangle__overlay article-title-card-rectangle__overlay--culture"></span></a></div><div class="article-title-card-rectangle__text-box"><a class="article-title-card-rectangle__link article-title-card-rectangle__text-container" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span class="article-title-card-rectangle__text-box__label article-title-card-rectangle__text-box__label--culture">Art</span></a><a class="article-title-card-rectangle__link article-title-card-rectangle__text-container" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220309-seven-artworks-exploding-the-myth-of-a-movement"><h2 class="article-title-card-rectangle__text-box__header b-font-weight-300 b-reith-sans-font b-font-weight-300">Seven artworks exploding a myth</h2></a><span class="rectangle-story-item__line"><div class="styled-line styled-line--light-grey styled-line--height--small"></div></span><p class="article-title-card-rectangle__text-box__author b-font-family-serif b-reith-sans-font">By Matthew Wilson</p></div></div></div></div></div><div class="rectangle-story-group__articles rectangle-story-group__articles--full-screen"><div class="rectangle-story-group__article rectangle-story-group__article--tablet rectangle-story-group__article--full-screen"><div data-bbc-container="latest-stories" data-bbc-title="The woman written out of history" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::2"}" data-bbc-result="https://www.bbc.com/culture/article/20220307-janet-sobel-the-woman-written-out-of-history" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220307-janet-sobel-the-woman-written-out-of-history"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bsz3lf.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bsz3lf.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bsz3lf.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bsz3lf.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bsz3lf.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bsz3lf.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bsz3lf.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bsz3lf.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Gary Snyder Fine Art NY)" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bsz3lf.jpg" alt="(Credit: Gary Snyder Fine Art NY)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220307-janet-sobel-the-woman-written-out-of-history"><span>The woman written out of history</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Kelly Grovier</span></div></div></div><div class="rectangle-story-group__article rectangle-story-group__article--tablet rectangle-story-group__article--full-screen"><div data-bbc-container="latest-stories" data-bbc-title="Britain's most incredible art theft" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::3"}" data-bbc-result="https://www.bbc.com/culture/article/20220221-the-duke-the-bus-driver-a-goya-masterpiece" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220221-the-duke-the-bus-driver-a-goya-masterpiece"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bqd1l5.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bqd1l5.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bqd1l5.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bqd1l5.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bqd1l5.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bqd1l5.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bqd1l5.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bqd1l5.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Alamy)" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bqd1l5.jpg" alt="(Credit: Alamy)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220221-the-duke-the-bus-driver-a-goya-masterpiece"><span>Britain's most incredible art theft</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Nicholas Barber</span></div></div></div><div class="rectangle-story-group__article rectangle-story-group__article--tablet rectangle-story-group__article--full-screen"><div data-bbc-container="latest-stories" data-bbc-title="The meanings hidden in a masterpiece" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::4"}" data-bbc-result="https://www.bbc.com/culture/article/20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bpnlb7.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bpnlb7.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bpnlb7.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bpnlb7.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bpnlb7.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bpnlb7.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bpnlb7.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bpnlb7.jpg" type="image/jpeg"/><img draggable="false" title="The Woman in White by Whistler" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bpnlb7.jpg" alt="The Woman in White by Whistler" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece"><span>The meanings hidden in a masterpiece</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Beverley D'Silva</span></div></div></div></div></div></div></div></div></div><div class="index__more-articles"></div><div class="index__stories-container"><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="The paintings that reveal the truth" data-bbc-metadata="{"APP":"index-stories","CHD":"card::1"}" data-bbc-result="https://www.bbc.com/culture/article/20220204-why-portraits-have-fascinated-us-for-millennia" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220204-why-portraits-have-fascinated-us-for-millennia"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bm7m5l.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bm7m5l.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bm7m5l.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bm7m5l.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bm7m5l.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bm7m5l.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bm7m5l.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bm7m5l.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: The Detroit Institute of Arts, Bridgeman Images)" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bm7m5l.jpg" alt="(Credit: The Detroit Institute of Arts, Bridgeman Images)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220204-why-portraits-have-fascinated-us-for-millennia"><span>The paintings that reveal the truth</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Cath Pound</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="The artists fighting racism" data-bbc-metadata="{"APP":"index-stories","CHD":"card::2"}" data-bbc-result="https://www.bbc.com/culture/article/20220128-black-british-experience-laid-bare" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220128-black-british-experience-laid-bare"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bkmdnx.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bkmdnx.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bkmdnx.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bkmdnx.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bkmdnx.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bkmdnx.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bkmdnx.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bkmdnx.jpg" type="image/jpeg"/><img draggable="false" title="Spirit of the Carnival by Tam Joseph" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bkmdnx.jpg" alt="Spirit of the Carnival by Tam Joseph" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220128-black-british-experience-laid-bare"><span>The artists fighting racism</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Precious Adesina</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="The private life of a masterpiece" data-bbc-metadata="{"APP":"index-stories","CHD":"card::3"}" data-bbc-result="https://www.bbc.com/culture/article/20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bjdzp5.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bjdzp5.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bjdzp5.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bjdzp5.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bjdzp5.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bjdzp5.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bjdzp5.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bjdzp5.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Huntington Library, Art Museum, and Botanical Gardens, San Marino, California)" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bjdzp5.jpg" alt="(Credit: Huntington Library, Art Museum, and Botanical Gardens, San Marino, California)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece"><span>The private life of a masterpiece</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Matthew Wilson</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="Surprising ways that Victorians flirted" data-bbc-metadata="{"APP":"index-stories","CHD":"card::4"}" data-bbc-result="https://www.bbc.com/culture/article/20220114-the-surprising-ways-that-victorians-flirted" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220114-the-surprising-ways-that-victorians-flirted"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bh9ky8.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0bh9ky8.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bh9ky8.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0bh9ky8.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bh9ky8.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bh9ky8.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bh9ky8.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0bh9ky8.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Art institute Chicago)" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0bh9ky8.jpg" alt="(Credit: Art institute Chicago)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20220114-the-surprising-ways-that-victorians-flirted"><span>Surprising ways that Victorians flirted</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Holly Williams</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="The eerie images of a teenage genius" data-bbc-metadata="{"APP":"index-stories","CHD":"card::5"}" data-bbc-result="https://www.bbc.com/culture/article/20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0b9xt8g.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0b9xt8g.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0b9xt8g.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0b9xt8g.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b9xt8g.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b9xt8g.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0b9xt8g.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0b9xt8g.jpg" type="image/jpeg"/><img draggable="false" title="Francesca Woodman" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b9xt8g.jpg" alt="Francesca Woodman" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius"><span>The eerie images of a teenage genius</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Andrew Dickson</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="The masterpieces stolen by the Nazis" data-bbc-metadata="{"APP":"index-stories","CHD":"card::6"}" data-bbc-result="https://www.bbc.com/culture/article/20211123-the-masterpieces-stolen-by-the-nazis" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211123-the-masterpieces-stolen-by-the-nazis"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0b696z7.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0b696z7.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0b696z7.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0b696z7.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b696z7.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b696z7.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0b696z7.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0b696z7.jpg" type="image/jpeg"/><img draggable="false" title="Franz Marc's The Large Blue Horses (1911) was the inspiration for US poet Mary Oliver's 2014 book Blue Horses (Credit: Collection Walker Art Center, Minneapolis)" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b696z7.jpg" alt="Franz Marc's The Large Blue Horses (1911) was the inspiration for US poet Mary Oliver's 2014 book Blue Horses (Credit: Collection Walker Art Center, Minneapolis)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211123-the-masterpieces-stolen-by-the-nazis"><span>The masterpieces stolen by the Nazis</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Diane Cole</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="The artist who skewers white privilege" data-bbc-metadata="{"APP":"index-stories","CHD":"card::7"}" data-bbc-result="https://www.bbc.com/culture/article/20211119-lubaina-himid-the-artist-who-skewers-white-privilege" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211119-lubaina-himid-the-artist-who-skewers-white-privilege"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0b51w1v.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0b51w1v.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0b51w1v.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0b51w1v.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b51w1v.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b51w1v.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0b51w1v.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0b51w1v.jpg" type="image/jpeg"/><img draggable="false" title="The Operating Table by Himid" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b51w1v.jpg" alt="The Operating Table by Himid" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211119-lubaina-himid-the-artist-who-skewers-white-privilege"><span>The artist who skewers white privilege</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Precious Adesina</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="An overlooked masterpiece re-discovered" data-bbc-metadata="{"APP":"index-stories","CHD":"card::8"}" data-bbc-result="https://www.bbc.com/culture/article/20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0b3mxth.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0b3mxth.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0b3mxth.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0b3mxth.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b3mxth.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b3mxth.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0b3mxth.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0b3mxth.jpg" type="image/jpeg"/><img draggable="false" title="Prometheus Triptych" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b3mxth.jpg" alt="Prometheus Triptych" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse"><span>An overlooked masterpiece re-discovered</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Daisy Dunn</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="Why magic's secret symbols fascinate us" data-bbc-metadata="{"APP":"index-stories","CHD":"card::9"}" data-bbc-result="https://www.bbc.com/culture/article/20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0b1sc1m.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p0b1sc1m.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0b1sc1m.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p0b1sc1m.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b1sc1m.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b1sc1m.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0b1sc1m.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p0b1sc1m.jpg" type="image/jpeg"/><img draggable="false" title="Tarot cards" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p0b1sc1m.jpg" alt="Tarot cards" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us"><span>Why magic's secret symbols fascinate us</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Clare Thorp</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="Why Hogarth is the UK's greatest artist" data-bbc-metadata="{"APP":"index-stories","CHD":"card::10"}" data-bbc-result="https://www.bbc.com/culture/article/20211020-why-william-hogarth-is-britains-greatest-artist" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211020-why-william-hogarth-is-britains-greatest-artist"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p09z6yxb.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p09z6yxb.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p09z6yxb.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p09z6yxb.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p09z6yxb.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p09z6yxb.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p09z6yxb.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p09z6yxb.jpg" type="image/jpeg"/><img draggable="false" title="Marriage A-la-Mode: 2, The Tête à Tête (1743-45) (Credit: The National Gallery)" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p09z6yxb.jpg" alt="Marriage A-la-Mode: 2, The Tête à Tête (1743-45) (Credit: The National Gallery)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211020-why-william-hogarth-is-britains-greatest-artist"><span>Why Hogarth is the UK's greatest artist</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Matthew Wilson</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="Exploring the truth about our planet" data-bbc-metadata="{"APP":"index-stories","CHD":"card::11"}" data-bbc-result="https://www.bbc.com/culture/article/20211020-the-art-exploring-the-truth-about-how-climate-change-began" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211020-the-art-exploring-the-truth-about-how-climate-change-began"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p09z7x5y.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p09z7x5y.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p09z7x5y.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p09z7x5y.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p09z7x5y.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p09z7x5y.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p09z7x5y.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p09z7x5y.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Louis Henderson/ Courtesy of the artist)" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p09z7x5y.jpg" alt="(Credit: Louis Henderson/ Courtesy of the artist)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211020-the-art-exploring-the-truth-about-how-climate-change-began"><span>Exploring the truth about our planet</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Precious Adesina</span></div></div></div><div class="index-stories__story-item"><div data-bbc-container="index-stories" data-bbc-title="Exposing the evil in the ordinary" data-bbc-metadata="{"APP":"index-stories","CHD":"card::12"}" data-bbc-result="https://www.bbc.com/culture/article/20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p09ysvbw.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1600x900/p09ysvbw.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p09ysvbw.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/1280x720/p09ysvbw.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p09ysvbw.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p09ysvbw.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p09ysvbw.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/624x351/p09ysvbw.jpg" type="image/jpeg"/><img draggable="false" title="Die Baba (1985) by Marlene Dumas (Credit: Marlene Dumas/Photo: Peter Cox, Eindhoven)" src="https://web.archive.org/web/20220311183155im_/https://ychef.files.bbci.co.uk/976x549/p09ysvbw.jpg" alt="Die Baba (1985) by Marlene Dumas (Credit: Marlene Dumas/Photo: Peter Cox, Eindhoven)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20220311183155/https://www.bbc.com/culture/article/20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary"><span>Exposing the evil in the ordinary</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Deborah Nicholls-Lee</span></div></div></div></div></div><div class="index__load-more"><div data-bbc-container="load-more-btn" data-bbc-title="Latest Stories" data-bbc-metadata="{"APP":"load-more-btn","CHD":"card::1"}" data-bbc-result="" data-bbc-client-routed="true" class="load-more-button"><button class="basic-button basic-button--culture"><span class="load-more-button__refresh gelicon--refresh"></span><span class="basic-button__text">Load more articles</span></button></div></div><div class="around-the-bbc-swimlane"><div class="swimlane"><div class="swimlane-inner swimlane-inner--small"><div class="swimlane__content"><span class="swimlane__title b-reith-sans-font">Around the BBC</span><div class="swimlane__items"></div></div></div><div class="swimlane__background-image swimlane__background-image--atb" style="background-image:linear-gradient(180deg, rgba(0,0,0,0.50) 0%, rgba(0,0,0,0.50) 100%), 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Eindhoven)","templateUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20220311183155\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09yst87.jpg","title":"MD-1987-C-TA.jpg","creationDateTime":"0001-01-01T00:00:00Z","entity":"image","guid":"","id":"p09yst87","modifiedDateTime":"0001-01-01T00:00:00Z","project":"","slug":"","url":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20220311183155\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09yst87.jpg","cacheLastUpdated":1647023516191},"p09ysvbw":{"urn":"urn:external:nitro:image:p09ysvbw","_id":"621d05b745ceed51ca4c08d6","copyright":"","fileSizeBytes":0,"mimeType":"image\u002Fjpeg","sourceHeight":1080,"sourceUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20220311183155\u002Fhttps:\u002F\u002Fs3-eu-west-1.amazonaws.com\u002Flive-galileo-interface-mt-resources-imagebucket-1a92e5tj3b5d6\u002Fp0\u002F9y\u002Fsv\u002Fp09ysvbw.jpg","sourceWidth":1920,"synopsisLong":"","synopsisMedium":"","synopsisShort":"Die Baba (1985) by Marlene Dumas (Credit: Marlene Dumas\u002FPhoto: Peter Cox, Eindhoven)","templateUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20220311183155\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09ysvbw.jpg","title":"do we need another hero.jpg","creationDateTime":"0001-01-01T00:00:00Z","entity":"image","guid":"","id":"p09ysvbw","modifiedDateTime":"0001-01-01T00:00:00Z","project":"","slug":"","url":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20220311183155\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp09ysvbw.jpg","cacheLastUpdated":1647023516191}},"articles":{"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement","_id":"62293f9d45ceed0aae0afef9","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fmatthew-wilson"],"bodyIntro":"An exhibition on Surrealism, co-curated by Tate Modern and the Metropolitan Museum of Art, explores the movement's previously unacknowledged multi-culturalism. These artworks from six continents explain how, says Matt Wilson.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFrom its beginnings, Surrealism's objective was to subvert the things most people believed to be the very foundations of modern civilisation: logic, convention and reasoning. Surrealism promised intellectual liberty to its followers – initially writers, and only latterly visual artists. These artists aimed to open doorways on to worlds that political authorities can't penetrate: the imagination, impulses and dreams.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history\"\u003EThe woman written out of history\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece\"\u003EThe meanings hidden in a masterpiece\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia\"\u003EThe paintings that reveal the truth\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EAnd subsequently a history was told by scholars to define Surrealism. This involved a condensed cast of (mostly male) heroes including the movement's father André Breton, who had written the first Surrealist manifesto in 1924. Mostly, it involved his disciples – artists like Salvador Dalí, René Magritte and Max Ernst. It also became intimately linked with Western cities: particularly Paris and New York.\u003C\u002Fp\u003E\n\u003Cp\u003E\"That's how histories are made and simplified for people to get a grip on,\" Matthew Gale, curator of \u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fwhats-on\u002Ftate-modern\u002Fsurrealism-beyond-borders\"\u003ESurrealism Beyond Borders\u003C\u002Fa\u003E, an exhibition at London's Tate Modern, tells BBC Culture. \"Historians complicate them by doing research.\" This research, which was undertaken by Gale, his co-curator Stephanie D'Alessandro and a team of scholars, involved going back to original publications and exhibition catalogues, and discovering many lesser-known artists that deserve re-examination. \"We've approached it from a transnational and transhistorical point of view,\" says Gale, \"Surrealism is not a style, it's a state of mind that leads to a free individual creativity.\"\u003C\u002Fp\u003E\n\u003Cp\u003ETo demonstrate this new perspective, Matthew Gale reveals how artists from six continents – Australasia, Asia, Europe, North America, Central America and Africa – were inspired by Surrealist techniques and ideas.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ETusalava (1929) by Len Lye, New Zealand\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EOne of the exhibition's most extraordinary artworks is Tusalava (1929), a 10-minute animated film by New Zealand-born Len Lye. In it, primordial, worm-like forms wriggle out of a void, give birth to a humanoid figure, and then vanquish him. Lye was inspired by tales of the witchetty grub which came from the Arrernte people of Central Australia, and used imagery inspired by Māori and Samoan art. But these cross-cultural interests were combined with a technique beloved of the Surrealists. \"It is painted directly on to the film, so it is a sort of doodling automatism made directly on to the celluloid,\" Gale explains. Automatism is a characteristic Surrealist process that involves \"free\" writing or drawing, in an attempt to decouple expression from conscious control. The film – the result of two years' worth of painstaking work – brings the spectacle of automatism breathtakingly to life.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0btdrld"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ESea (1929) by Koga Harue, Japan \u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWith its factory, sea vessels and airship, Japanese artist Koga Harue's monumental painting The Sea (1929) seems to be a paean to technology. This was an intentional rebellion against what Koga and his colleagues disliked in European Surrealism. They thought that Breton and his followers were decadent in disengaging with modern progress, and proposed a '\"scientific\" Surrealism in Japan. But they retained a technique favoured by the Surrealists in Paris: the combination of otherwise disassociated symbols to create magical effects. \"What Koga Harue does is to show that through unexpected juxtapositions, there is something perhaps irrational in the rational,\" Gale says. This is born out in uncanny visual relationships, such as the oversized Western bather contrasted with a factory's clockwork logic, and the mysterious world of the seabed confronting the deadly stealth of a submarine.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0btds03"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ELobster Telephone (1938) by Salvador Dalí, Spain\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ESurrealism was born in Europe, and Salvador Dalí's Lobster Telephone, made in Paris in 1938, is one of its most famous icons. \"It is a brilliant combination of unconnected things that becomes an object that is both functional and completely irrational,\" Gale explains. \"It's a totally marvelous thing, made at that critical moment when Dalí is managing to establish himself as a celebrity around the world.\" Indeed, one of the things that popularised Surrealism internationally was Dalí's involvement in advertising and with Hollywood. He devised a dream sequence for Alfred Hitchcock's Spellbound (1945) and briefly worked at Walt Disney Studios. \"You can't downplay the significance of Dalí's celebrity moment because that's what fixed it in people's minds,\" says Gale. Lobster Telephone was made for Edward James, the London collector, for his house in Wimpole Street. \"As far as I am aware James actually used these phones,\" Gale explained. \"I'm not sure what one does with the claws…\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0btdscv"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EEine Kleine Nachtmusik (1943) by Dorothea Tanning, USA \u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe traditional story of Surrealism tells us that it began in Europe and migrated to the US at the outbreak of World War Two, as intellectuals and artists fled from the Nazis. But Gale disagrees. \"There were different points of contact and different points of departure for Surrealism within the United States – much more complex than just the Europeans arriving in 1940.\" Dorothea Tanning, however, did benefit from the appearance of European Surrealists in the US. She saw a Surrealist exhibition in New York in 1936, and visited Paris three years later. She married Max Ernst after his emigration to the USA, and the pair eventually lived together in a remote outpost of the Arizona desert. \"She found in Surrealism a sense of autobiographical release,\" says Gale, \"a way to plumb her personal experience, and find a way to express that through her work. The dreamscape that is implied both by the imagery and the title is a fundamental thread in Surrealism that you can penetrate to the subconscious to elicit new poetic and pictorial images, but also to release those repressed ideas and fears.\" Eine Kleine Nachtmusik hints at imponderable desires, and acts with its ambiguous symbols. These include a life-sized doll, and a girl whose approach to an ominously open door is blocked by an oversized sunflower with ripped petals.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0btdtrf"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EBélial Empereur des Mooches (1948) by Wilfredo Lam, Cuba\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWilfredo Lam's art exposes an incredibly rich vein of Surrealism in South America. His father was Chinese, his mother was Afro-Cuban, and after studying in Cuba he travelled through Europe to work alongside Surrealists in Paris. On the way, he fought on the Republican side in the Spanish Civil War. Leaving Europe at the outset of World War Two, he found himself on the same ship as André Breton. \"When Lam returned to Cuba, he found it a corrupt place, and was deeply shocked by its racism, and its financial and social inequality. He turned this into the fuel for his art which drew upon Afro-Cuban traditions, and turned them against the dominant society – and by implication against the neo-colonialism of the United States,\" says Gale. Bélial Empereur des Mooches translates as \"Belial Emperor of the Flies\". Venus, the Roman goddess of love, stands on the left, and on the right is a figure who is a hybrid of Mars, the god of war, and Changó, the Yoruba thunder god. The title refers to Belial, an alternative name for the devil in Christianity, and also uses forms reminiscent of Vooduo ceremonies Lam witnessed alongside Breton in Haiti. It's testament to one important thread of international Surrealism – its adaptability to local traditions and beliefs, and its frequently vocal opposition to colonialism.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0btdszt"],"imageAlignment":"centre","imageOrientation":"square","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EUntitled (1967) by Malangatana Ngwenya, Mozambique \u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EMalangatana Ngwenya was a Mozambican artist, whose Untitled (1967) gives us one example of how Surrealism had an impact in Africa. A committed Marxist and a member of Frelimo, the anti-Portuguese freedom movement during the time of Mozambique's struggle for independence, he bore witness to the tragic civil war that followed separation from Portugal. In the 1960s, Malangatana was invited to exhibit alongside other Surrealists at the Luanda Museum in Angola. \"He is an interesting figure in relation to Surrealism because other people saw his work and said: 'this looks like Surrealism'. He later showed work in Surrealist exhibitions in Portugal and in Chicago. He is a Surrealist by invitation,\" explained Gale. Like a medieval depiction of hell, Untitled shows figures dismembered and eaten alive by monsters – Malangatana has conveyed a historical tragedy as if perceived at the height of a fever dream.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0btdtjj"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ELong Distance (1976-2005) by Ted Joans, USA\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EArtists from around the globe were electrified by the promise of imaginative freedom offered by Surrealism. They used Surrealist techniques like automatism, juxtaposition and dream imagery to explore the inner life of the mind, sometimes using indigenous cultural forms to make a political – often anti-colonialist – point. The US poet, musician and artist Ted Joans epitomises the uniquely international character of Surrealism. \"Joans was incredibly energetic and constantly on the move in his lifetime,\" Gale explains. Joans's Long Distance exemplifies his life's work. It is a 10m-long game of consequences – the children's game where one player draws part of a scene and covers it for the next player to add to, and pass along for the next turn. \"But this is on a mammoth scale and made over a couple of decades. There are poets and musicians, writers and political thinkers as well as artists who have contributed. Joans was the thread that brings these people together and he made it in Paris, Mali, North and Central America and London.\" You can see all kinds of familiar names involved in the game including Malangatana, Dorothea Tanning, Paul Bowles, Allen Ginsberg, William S Burroughs, James Rosenquist, Roland Penrose and Jacob Lawrence.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0btf0cy"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt seems to bring all the most wonderful aspects of Surrealism together – the playfulness, the political commitment, the view that the movement aimed to be above creed, race or ethnicity. Gale agrees. \"It embodies the fundamental idea that Surrealism was an international community.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fwhats-on\u002Ftate-modern\u002Fsurrealism-beyond-borders\"\u003ESurrealism Beyond Borders\u003C\u002Fa\u003E is at Tate Modern, London, until 29 August 2022.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement-14"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2022-03-10T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Seven artworks exploding the myth of a movement","headlineShort":"Seven artworks exploding a myth","image":["p0btdvcz"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":["p0btdscv"],"relatedStories":null,"relatedTag":["tag\u002Fart-history"],"summaryLong":"An exhibition on Surrealism explores its previously unacknowledged multi-culturalism. These works from six continents explain how, says Matt Wilson.","summaryShort":"A new show explores Surrealism's previously unacknowledged multiculturalism","tag":["tag\u002Fart"],"textToSpeech":false,"creationDateTime":"2022-03-10T00:00:10.978919Z","entity":"article","guid":"a447e560-3911-4891-9f17-999e69ef9f10","id":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement","modifiedDateTime":"2022-03-10T00:00:10.978919Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20220309-seven-artworks-exploding-the-myth-of-a-movement","cacheLastUpdated":1647023516171},"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history","_id":"6226a39f45ceed45ac60517c","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fkelly-grovier"],"bodyIntro":"In 1938, a Ukrainian-born grandmother created one of art's biggest shocks – but it was attributed to the US painter Jackson Pollock. For International Women's Day, Kelly Grovier explores the influence of Janet Sobel.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThis is the way the story has always been told: in 1947, Jackson Pollock, the pioneering American painter whose rugged name rhymes with the verve of his virile persona, finally lost patience with the fussy finesse of careful brushstrokes that had defined art history. Chucking his bristles and easel aside, he grabbed some sticks and started flinging paint directly on a canvas he'd stretched out on the floor. With a flick of his wrist while galloping around the work like a ranch hand roping a rampant calf – not so much painting a passive image as lassoing an untamable one – Pollock had hit upon a fresh new mode of energetic artistic expression, one with muscle and swagger befitting the wild west of his Wyomingite birth and the wide, dry lightning plains of his unbridled psyche.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210305-caterina-van-hemessen-an-unknown-visual-pioneer\"\u003EA painting with a mysterious message\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary\"\u003EExposing the evil in the ordinary\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege\"\u003EThe artist who skewers white privilege\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\"During the summer of 1947,\" \u003Ca href=\"https:\u002F\u002Fwww.google.co.uk\u002Fbooks\u002Fedition\u002FGlittering_Images\u002F_ER2NAEACAAJ?hl=en\"\u003ECamille Paglia writes\u003C\u002Fa\u003E in her excellent survey of milestones in the history of image-making, Glittering Images: A Journey Through Art from Egypt to Star Wars, \"there was a major breakthrough: he invented his signature 'drip' style, which would transform contemporary art.\" Pollock's was an instinctive, shoot-from-the-hip technique that didn't painstakingly plot its next move – rather, one that grabs a bottle, takes a swig, wipes its lips on its cracked knuckles, and couldn't care less who's watching. This is painting free from form and formalities, the kind of painting that only an American, a real American, could invent.\u003C\u002Fp\u003E\n\u003Cp\u003EOnly it wasn't. Contrary to established myth – a myth accelerated by sensational spreads in Time and Life magazines in 1949 and 1956 under \u003Ca href=\"https:\u002F\u002Fbooks.google.co.uk\u002Fbooks?id=y04EAAAAMBAJ&printsec=frontcover&dq=LIFE+magazine+8+Aug+1949&hl=en&sa=X&ved=2ahUKEwjpppft5Kz2AhWHN8AKHUI8BckQ6AF6BAgmEAI#v=onepage&q&f=false\"\u003Esuch eyebrow-raising headlines as\u003C\u002Fa\u003E \"Jack the Dripper\" and \"Is he the greatest living painter in the United States?\" – Pollock's \"signature\" style wasn't his invention at all, but the brainchild of another artist, one whose extraordinary story confounds and invigorates our understanding of one of the most celebrated contours in recent cultural history. Put simply, modern art has a problem. Her name is Janet Sobel.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bsz3fb"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe true story of the birth of both the \"drip\" technique and so-called \"all-over painting\" (in which the surface of a work is approached holistically from every direction), is no less remarkable than the famous fable: in 1938, a 45-year-old Ukrainian-born grandmother, with no previous artistic training, began fiddling around with her son's painting supplies and changed the course of cultural history. Born Jennie Lechovsky in a Jewish town in eastern Ukraine in 1893, Sobel escaped the violence of anti-Semitic pogroms (in which her father had been killed), and arrived in New York with her mother and three siblings in 1908, when she was 15. Much of the next three decades would be devoted to the rearing of five children who she had with Max Sobel, an engraver and goldsmith, whom she married the year after she reached Ellis Island. It was only when their 19-year-old son Sol, frustrated with his own artist development, palmed off his supplies to his mother in the late 1930s that Sobel herself began to experiment with making paintings.\u003C\u002Fp\u003E\n\u003Cp\u003E\"One story has it,\" \u003Ca href=\"https:\u002F\u002Fwww.jstor.org\u002Fstable\u002F3566528?refreqid=excelsior%3A3c2d4853ec754423eddb55b1f0d1f64e\"\u003Eaccording to the art historian Gail Levin\u003C\u002Fa\u003E, \"that she began to draw on top of some of the drawings that Sol brought home from his art classes... Another is that Sol, while still in high school, had won a scholarship to the Art Students League, which, against his mother's wishes, he sought to give up. When she tried to convince him to continue, \u003Ca href=\"https:\u002F\u002Fwww.jstor.org\u002Fstable\u002F3566528?refreqid=excelsior%3A3c2d4853ec754423eddb55b1f0d1f64e\"\u003Ehe reportedly exclaimed\u003C\u002Fa\u003E: 'If you're so interested in art, why don't you paint?'\". She was a natural. Without any instilled deference to rules that mustn't be broken – and with the fearlessness of someone who had survived the traumas of religious persecution and the hardships of the Great Depression – Sobel unselfconsciously set about inventing art as if entirely from scratch. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"She assaulted the surface of canvases laid out on the floor, orchestrating a liquid lyricism of spills, splashes and spits the likes of which had never before been seen","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe first flush of works is characterised by a primitivist poetry of dreamlike forms floating in enchanted landscapes with a levitational allure that recalls the mystical visions of Marc Chagall, whose own fierce folkloric imagination had been forged by the violence of pogroms. But it isn't long before figurative storytelling gives way to a more ambiguously amorphous cadence of expression that strayed beyond Surrealist impulses to pure abstraction. With no inculcated allegiance to any artistic school or prejudice regarding the appropriateness of materials, Sobel began playing both with what a painting can say and how it can say it. Using unconventional implements such as glass eye-droppers to squirt paint and the strong suck of a vacuum to drag wet splatters into thin gossamers that no traditional brush could spin, she assaulted the surface of canvases laid out on the floor, orchestrating a liquid lyricism of spills, splashes and spits the likes of which had never before been seen.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bsznhm"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe result was works such as \u003Ca href=\"https:\u002F\u002Fwww.moma.org\u002Fcollection\u002Fworks\u002F80636?artist_id=5503&page=1&sov_referrer=artist\"\u003EMilky Way\u003C\u002Fa\u003E, 1945 – a silent symphony of delicate enamel whorls and surging spatters that Sobel created two years before Pollock would fling his first skirl of paint or began producing his own inchoate cosmic sonatas such as \u003Ca href=\"https:\u002F\u002Fwww.joslyn.org\u002Fcollections-and-exhibitions\u002Fpermanent-collections\u002Fpostwar-and-contemporary\u002Fjackson-pollock-galaxy\u002F\"\u003EGalaxy\u003C\u002Fa\u003E (1947). Some creative coincidences can be chalked up to the untraceable synergies of zeitgeist – contemporaneous imaginations incidentally synchronised to the same cultural stimuli. This isn't one of them. Pollock was profoundly influenced by Sobel's work, and history has saved the receipts. Almost as quickly as Sobel had begun to experiment with making images, her son Sol set about attracting  attention to her remarkable efforts, reaching out to everyone from Chagall himself to the influential art collector Sidney Janis, who would prove instrumental in establishing the reputations of everyone from Willem de Kooning to Mark Rothko to Pollock.\u003C\u002Fp\u003E\n\u003Cp\u003EBy 1944, Sobel was well on her way to being a formidable fixture in the New York art scene, debuting that year with a solo show at the Puma Gallery on 57th Street – an exhibition that yielded widespread praise for her works' \"astounding sophistication\" and \"absolutely unrestricted\" imagination. Janis (\u003Ca href=\"https:\u002F\u002Fwww.google.co.uk\u002Fbooks\u002Fedition\u002FAbstract_Expressionism\u002FFTFQAAAAMAAJ?hl=en&gbpv=0&bsq=%22probably%20eventually%22%20%22janet%20sobel%22\"\u003Ewho predicted that Sobel\u003C\u002Fa\u003E \"will probably eventually be known as one of the important surrealist artists in this country\"), included her work in a prominent exhibition Abstract and Surrealist Painting in America that toured the country that year.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bsz44x"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESoon after, Sobel's profile was given a further boost in 1945, when the legendary art promoter Peggy Guggenheim included her in a prominent exhibition, The Women, at Guggenheim's Art of the Century gallery, before offering Sobel her own solo show the following year – an event that incontestably would bring her innovative practice and paintings (if they had not already) to the consciousness of Pollock. \u003Ca href=\"https:\u002F\u002Fwww.google.co.uk\u002Fbooks\u002Fedition\u002FArt_and_Culture\u002FOZEDAQAAQBAJ?hl=en&gbpv=1&dq=%22noticed+one+or+two+curious+paintings+shown+at+Peggy+Guggenheim%E2%80%99s%22&pg=PA218&printsec=frontcover\"\u003EWriting years later in 1955\u003C\u002Fa\u003E, the art critic Clement Greenberg admitted to visiting the exhibition with Pollock and that the two \"noticed one or two curious paintings shown at Peggy Guggenheim's by a 'primitive' painter, Janet Sobel (who was, and still is, a housewife living in Brooklyn)\". Putting to one side Greenberg's derisory instinct to belittle the status and achievement of Sobel (\"curious\", \"primitive\", \"housewife\"), what he goes on to acknowledge places beyond doubt the enduring significance of the encounter: 'Pollock (and I myself) admired these pictures rather furtively… The effect – and it was the first really 'all-over' one that I had ever seen… – was strangely pleasing. Later on, Pollock admitted that these pictures had made an impression on him.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bt3qzg"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhy \"furtively\"? It is, after all, a word that admits a level of guilt and secrecy to the act of looking. Despite Pollock's own admission that Sobel's work \"had made an impression on him\", Greenberg can't resist diminishing the magnitude of that acknowledged impact. Greenberg goes on to insist that when Pollock \"began working consistently with skeins and splotches of enamel paint, the very first results he got had a boldness and breadth unparalleled by anything seen\" in the work of any previous painter, including Sobel. \"Even as he selects Sobel as Pollock's predecessor,\" \u003Ca href=\"https:\u002F\u002Fwww.academia.edu\u002F21519689\u002FJanet_Sobel_Primitive_Modern_and_the_Origins_of_Abstract_Expressionism\"\u003Enotes the art historian Sandra Zalman\u003C\u002Fa\u003E, \"Greenberg asserts that Pollock had already surpassed her.\"\u003C\u002Fp\u003E\n\u003Cp\u003EFortunately, we have more to measure the \"boldness and breadth\" of the two artists' respective achievements – at this formative stage in the unveiling of the drip technique – than Greenberg's suspiciously \"furtive\" assessment. Placed side-by-side with Sobel's earlier painting Milky Way, Pollock's Galaxy is murky and muddled, like someone still searching for his voice or burying it under lashings of doubt. After all, Pollock's painting is, literally, a cover up. \"At first, in a picture such as Galaxy,\" \u003Ca href=\"https:\u002F\u002Fwww.google.co.uk\u002Fbooks\u002Fedition\u002FJackson_Pollock\u002FvbLYDjP6BZkC?hl=en&gbpv=1&dq=%22Pollock+spattered+paint+to+obscure+an+image+that+had+begun+as+a+human+figure%22&pg=PA180&printsec=frontcover\"\u003Eexplains his biographer Deborah Soloman\u003C\u002Fa\u003E, \"Pollock spattered paint to obscure an image that had begun as a human figure.\" For Sobel, the invention of drip painting was a ritual of self-revelation. For Pollock, at least initially, the technique was imitative and self-concealing: a mask.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bszpcb"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhatever one's estimation of the relative merits of Sobel's and Pollock's work at this moment in the unfolding narrative of modern art, as history would have it, Pollock would prove to be in the far stronger position to advance the technique of drip painting, whether it was his invention or not. Just as Sobel was gaining traction as a creative force in New York – no small feat for a female artist of her or any generation – her circumstances suddenly changed dramatically, and in ways that effectively removed her from the world of art completely. In 1946, the same year that she opened a solo show at Guggenheim's Art of the Century gallery, her husband Max, moved the family from Brooklyn to Plainfield, New Jersey, in order to be nearer to his costume jewellery enterprise. Unable to drive, Sobel quickly found herself cut off from the ebb and flow of the art scene in which she had only just become an important player.\u003C\u002Fp\u003E\n\u003Cp\u003ECompounding that geographic disadvantage was the decision taken the following year by her biggest advocate, Peggy Guggenheim, to relocate to Europe, closing behind her the doors of the Art of the Century gallery – Sobel's principal platform. Adding insult to injury, the onset of an allergy to an ingredient in paint forced Sobel to turn instead to media such as crayons that were less conducive to the drip technique, all but forcing her to abandon the innovation entirely. By 1948, Janet Sobel, who would die in obscurity 20 years later, had effectively vanished from the art world. Though not without a trace. Her enduring genius can still be mapped in the innumerable knots and infinite coils of pigment with which Pollock will proceed to intertwine his more famous canvases – endlessly weaving her spirit into the tangled firmament of art history.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history-12"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2022-03-08T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Janet Sobel: The woman written out of history","headlineShort":"The woman written out of history","image":["p0bt51dp"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":["p0bsz3lf"],"relatedStories":null,"relatedTag":["tag\u002Fvisual-pioneers"],"summaryLong":"In 1938, a Ukrainian-born grandmother created one of art's biggest shocks – but it was attributed to the US painter Jackson Pollock, writes Kelly Grovier.","summaryShort":"How a grandmother created one of art's biggest shocks","tag":["tag\u002Fvisual-pioneers","tag\u002Fart-history"],"textToSpeech":false,"creationDateTime":"2022-03-08T00:30:05.281443Z","entity":"article","guid":"2852f60c-82e6-43e5-9855-922cbffe2061","id":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history","modifiedDateTime":"2022-03-08T15:11:10.616811Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20220307-janet-sobel-the-woman-written-out-of-history","cacheLastUpdated":1647023516172},"culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece","_id":"621e43f145ceed2f1f22ecd2","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber"],"bodyIntro":"In 1961, a portrait by the artist vanished from the UK's National Gallery. As The Duke, a film about the theft, is released, Nicholas Barber tells the story of an incredible art heist.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAn hour and a half into the first James Bond film, 007 is strolling through the swanky secret headquarters of the eponymous villain, Dr No, when he pauses to admire a painting on a gilded easel. The moment passes so quickly that today's viewers barely notice it, but to cinema-goers in 1962, this would have been one of the film's sharpest jokes. The painting, a portrait of the Duke of Wellington completed by Francisco Goya in 1814, had been stolen from the National Gallery in London in 1961. Nobody knew who had taken it or where it was, so the idea that it might have fallen into the robotic hands of a megalomaniacal SPECTRE agent seemed as plausible as any other.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EWarning: this article contains plot spoilers for The Duke\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003Cbr \u002F\u003E \u003C\u002Fstrong\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20220127-10-films-to-watch-this-february\"\u003E10 films to watch this February\u003C\u002Fa\u003E\u003Cbr \u002F\u003E – \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200406-meet-the-worlds-greatest-art-detective\"\u003EThe Indiana Jones of the art world\u003C\u002Fa\u003E\u003Cbr \u002F\u003E – \u003Ca href=\"https:\u002F\u002Fwww.google.co.uk\u002Fsearch?q=art+thefts+bbc+culture&sxsrf=APq-WBsvk2j1n1YndJ--ZmUiCNDRMTT4fA%3A1645446929236&source=hp&ei=EYcTYvjXC5GA8gK5j5KADw&iflsig=AHkkrS4AAAAAYhOVIfWGW5e9NoxtIN3t2TkXCur5VTFQ&ved=0ahUKEwi4pNi955D2AhURgFwKHbmHBPAQ4dUDCAk&uact=5&oq=art+thefts+bbc+culture&gs_lcp=Cgdnd3Mtd2l6EAM6CAghEBYQHRAeUABYjRhg-xhoAHAAeACAAecDiAGOB5IBAzQtMpgBAKABAQ&sclient=gws-wiz\"\u003EThe masterpieces stolen by the Nazis\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThis was, after all, a mind-boggling heist. The painting had been owned by John Osborne, Duke of Leeds. He sold it at auction to an American collector, Charles Wrightsman, for £140,000, but the British Government was loath to let it leave the country, so the Treasury teamed up with a charity, the Wolfson Foundation, and matched Wrightsman's bid: £2 million in today's prices. The Goya portrait was suddenly the most famous painting in Britain. Visitors flocked to the National Gallery to see what all the money had been spent on, and security was tight. And yet, shortly before the Gallery opened on the morning of 21 August 1961, the guards realised that the painting had been spirited away. They didn't spot any intruders, no damage was done, and there were no traces of any equipment or weapons on the scene. But the Goya was gone. Nothing like this had happened before in the gallery's 138-year history. If Dr No wasn't responsible, then the culprit had to be a similarly cunning, experienced, and well-funded international criminal mastermind.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bqd1ws"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThat was the theory, anyway. But in November 1965, a 61-year-old retired bus driver from the Northern English city of Newcastle upon Tyne stood up in London's Central Criminal Court and declared that he had taken the painting. He had never intended to keep it, he added. \"My sole object in all this was to set up a charity to pay for television licences [which fund the BBC in Britain] for old and poor people who seem to be neglected in our affluent society.\"  \u003C\u002Fp\u003E\n\u003Cp\u003EThis wasn't the story of a malevolent Dr No or a glamorous Thomas Crown committing the perfect crime, but of a chap named Kempton Bunton who embodied British eccentricity, underdog rebelliousness, have-a-go spirit, absurd luck, and sheer bloody-minded cheek. And now the stranger-than-fiction tale of the world's most unlikely fine-art thief has been made into a sparkling comedy drama, The Duke, starring Jim Broadbent as Bunton and Helen Mirren as his long-suffering wife. One of its executive producers is Chris Bunton, Kempton's grandson. \"It was always a story of working-class struggle,\" Chris tells BBC Culture. \"The family didn’t have two pennies to rub together, they were dealing with poverty as well as a lot of tragedy, and that influenced their psyche and their decision-making process. It's unlike any other heist.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EA dreamer and activist\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EKempton Bunton was a local character in Newcastle long before the theft of the Goya. He was regularly fired from jobs for speaking up for his colleagues against the management, he was an aspiring playwright whose scripts were invariably rejected by the BBC, and he was an activist who saw television as a lifeline for lonely pensioners, especially veterans of World War One, such as his own father. In Britain, it was illegal to own a television without paying an annual licence. Feeling that the fee was too high for poorer people, Bunton protested by refusing to pay his own licence fee, and, as a result, he had three short spells in prison in 1960. \"I loved the fact that Kempton had dreams beyond his station,\" says Nicky Bentham, the producer of The Duke. \"And he held on to those ideals, this sense of community, and this idea that one person could make a difference. I thought it was wonderfully uplifting and inspiring that he finally got a platform to share what he wanted to say with the world.\"\u003C\u002Fp\u003E\n\u003Cp\u003EBut, as his grandson says, Bunton's life was rocked by tragedy, too. Directed by the late Roger Michell, and scripted by Richard Bean and Clive Coleman, the film ascribes his wayward behaviour to the grief and guilt he felt about the death of his daughter, Marion, in a cycling accident when she was a teenager. \"I'm not saying that that justifies what he did,\" says Chris, \"but it was horrendous, really.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bqd2ds"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn 1961, Bunton would later tell the court, he heard that the government had paid a fortune for one small painting, and it didn't seem fair. He went to the National Gallery to see what all the fuss was about, he explained, and saw that builders who had been doing some renovations had left a ladder lying in the street outside. A window in the men's toilets had been left unlocked. And the alarm system was switched off every morning when the cleaners came in. Soon, the Goya wasn't on display in Dr No's lair, it was stashed behind a wardrobe in Bunton's council house in Newcastle.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"There had never been a heist of this kind in the UK, so the police didn't know how to deal with it. Art heists elsewhere had been attributed to very well-established organised crime syndicates, and so that was the assumption – Nicky Bentham","id":"culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe authorities were baffled. Newspaper articles speculated that a gang of Italian crooks was behind the heist, or perhaps a thrill-seeking aristocrat. Bunton sent anonymous notes to various newspapers himself, promising that he would return the painting if £140,000 was donated to charity. But the police's enquiries didn't take them anywhere near this working-class Robin Hood. \"The gap between the establishment and the life of a bus driver in Newcastle was just vast,\" says Bentham. \"But also, there'd never been a heist of this kind in the UK, so they didn’t know how to deal with it. Art heists had happened elsewhere, and they had been attributed to very well-established organised crime syndicates, and so that was the assumption.\"\u003C\u002Fp\u003E\n\u003Cp\u003EEventually Bunton decided that enough was enough. In May 1965, he took the painting to the left luggage office at Birmingham New Street station, and posted the receipt to the Mirror newspaper. Six weeks after that, he marched into New Scotland Yard and announced that he was the thief, and he used the subsequent trial as an opportunity to lecture the public about television licence fees. Because he had returned the painting, he was found not guilty of stealing it, but guilty of stealing the frame it had been in, which had since been lost. He spent three months in prison, content in the knowledge that he had made his political point – and that he had outsmarted the country's most brilliant criminal investigators.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe twist in the tale\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ERemarkably, that's not the whole story. The truth was that Bunton had outsmarted those investigators in more ways than one. Anyone who hasn't seen The Duke yet should stop reading now because it has a big twist towards the end. The person who pinched the Goya wasn't Bunton at all. The actual culprit was his 20-year-old son, John, a boat repairman. In 1969, he belatedly turned himself in, but the Director of Public Prosecutions deemed that as there was no other evidence available, it was simpler to brush the matter under the carpet. Besides, Britain's legal establishment wanted to avoid any further embarrassment. \"If they tried John for the crime,\" says Bentham, \"they would have to call Kempton back to the stand and have him admit to perjury, and they just didn't want to give him a platform again.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bqd24z"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt wasn't until 2012 that a confidential file detailing John's confession was released to the public. \"My dad never expected to get away with it,\" says Chris, the son of John, who is now aged 80. \"It was an idea, that's all it was. He was working in London at the time, living in a rented room, and he wondered if it was possible. He saw the open window in the bathroom and the ladder behind the gallery, and one thing led to another.\" John was in and out of the gallery within a few minutes of 5.50am. Having wedged the painting on to the back seat of his car, and driven it up the road to his lodgings, he thought that his cash-strapped family might get a few thousand pounds from the insurance company as a ransom payment, and that Kempton's licence-fee campaign would be publicised. \"My dad looked up to Kempton,\" says Chris. \"He was the one person who always supported him.\"\u003C\u002Fp\u003E\n\u003Cp\u003EIn return, Kempton supported his son. When he sent those notes to newspapers asking for a charitable donation, he hoped that they would put John in a better light if he was arrested. And then he insisted on taking the blame for John's crime himself, an act of heroism of which James Bond might have approved.\u003C\u002Fp\u003E\n\u003Cp\u003E\"Kempton was a flawed character,\" says Chris. \"He wasn't the best father or the best husband, but he did this extraordinary thing to save his son. If my dad had gone to prison at that age, it would have ruined his life, so I was glad that the film focused on that. Yes, Kempton had the goal of supporting his campaign, but his main goal was to do the right thing for his family.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EThe Duke is released in cinemas on 25 February in the UK and 22 April in the US\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece-8"}],"collection":["culture\u002Fcolumn\u002Ffilm","culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2022-02-22T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The bus driver who confessed to stealing a Goya masterpiece","headlineShort":"Britain's most incredible art theft","image":["p0bqd1l5"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"In 1961, a portrait by the artist vanished from the UK's National Gallery. As The Duke, a film about the theft, is released, Nicholas Barber tells the story of an incredible art heist.","summaryShort":"The story of the retired bus driver who confessed to stealing a Goya masterpiece","tag":null,"textToSpeech":false,"creationDateTime":"2022-02-22T00:00:56.135371Z","entity":"article","guid":"30d74c0a-f1e1-45b3-a5ee-63f534072279","id":"culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece","modifiedDateTime":"2022-02-24T14:11:36.005712Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20220221-the-duke-the-bus-driver-a-goya-masterpiece","cacheLastUpdated":1647023516174},"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece","_id":"621e43f345ceed2f3e0d4513","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fbeverley-dsilva"],"bodyIntro":"In art, spirituality and protest, a woman wearing white is a powerful symbol. Is she a goddess, a ghost, a \"fallen woman\" – or something else entirely, asks Beverley D'Silva.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Default\"\u003EShe was a vision in a white dress, as she stood, or half floated, before a white curtain. She was an \"apparition\", enthused the artist Gustave Courbet. No, there was nothing ghostly or unearthly about her, according to the art critic Jules-Antoine Castagnary, she was \"a woman after her wedding night,\" he said, leaving no doubt what her rosebud lips and dazzled stare evoked in him. She was \"charming\" felt the poet Charles Baudelaire. While art historian Paul Mantz wondered: \"What does she want with her loose hair, her big eyes drowned in ecstasy, her languid attitude?\"\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200103-the-tragedy-of-arts-greatest-supermodel\"\u003ETragedy of the world's first supermodel\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210719-the-unseen-masterpieces-of-frida-kahlo\"\u003EUnseen masterpieces of Frida Kahlo\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210709-paula-rego-is-this-britains-greatest-living-artist\"\u003EPaintings of 'rage, rebellion and pain'\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EThe \"she\" invoking these notable reactions was the subject of The White Girl, a masterpiece created by artist James McNeill Whistler in 1861-2. The model, Joanna Hiffernan, was also a muse, companion and much more to the US-born artist, who was living between London and Paris when the pair met in 1860. At the time of their meeting, Hiffernan, an Irish-born Londoner, was 21. The artist was 26, smitten by her beauty, and her hair, which was \"the most beautiful that you have ever seen!\" he wrote. \"A red not golden but copper – as Venetian as a dream!\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bpr1qt"],"imageAlignment":"centre","imageAltText":"Jo with Bent Head by Whistler","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Default\"\u003EThe painting, which he eventually titled Symphony in White, No 1: The White Girl, was rejected by the Royal Academy and the official Paris Salon, and accepted at the Salon des Refus\u003Cem\u003E\u003Cspan\u003Eé\u003C\u002Fspan\u003E\u003C\u002Fem\u003Es in 1863, a home – thanks to Napoleon III – for fine artists rejected elsewhere. It sealed Whistler's fate as a great international artist, and won him huge success in his own time.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Controversy raged around the stereotypes – goddess or \"fallen\" woman – and what all that whiteness could possibly symbolise","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Default\"\u003EFrom its first showing in a London gallery, under the title Woman in White, trading up on the popularity of Wilkie Collins's 1859 novel of that name, it caused a stir, was derided publicly and critically praised. Like the \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210211-the-detail-that-unlocks-the-mona-lisa\"\u003EMona Lisa\u003C\u002Fa\u003E centuries before her, Woman in White drew fascinated crowds, speculating about who and what she was.\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EMuch conjecture focussed on the dress. A robe of such dazzling light-suffused whiteness was surely a garment worn by saints and the Virgin Mary, with further allusions to purity and innocence invoked by the white lily in her hand. But what of the flame-red hair, hanging loose, possibly indicative of her morals? And the wolfskin beneath her feet; with its links to wildness, sexuality, and the \"beast\" waiting to be unleashed inside her – or maybe those who gazed upon her.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bpnlqy"],"imageAlignment":"centre","imageAltText":"Woman in White by Whistler","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Default\"\u003EControversy raged around these stereotypes – goddess or \"fallen\" woman – and what all that whiteness could possibly symbolise: purity, virginity, morality, heaven, goodness, faith, perfection. Whistler was a \"ruthlessly ambitious and hard-working artist\" who was \"determined to make his mark\", according to Professor Margaret MacDonald, a co-curator of an exhibition at London's Royal Academy, \u003Ca href=\"https:\u002F\u002Fwww.royalacademy.org.uk\u002Fexhibition\u002Fwhistler-woman-in-white\"\u003EWhistler's Woman in White\u003C\u002Fa\u003E, as well as co-author of the accompanying book, who is an expert on Whistler. The book examines the complex, enduring relationship between the artist and Hiffernan, and explores how the sensation around The White Girl, which stood on the threshold of modern art, secured Whistler's place in art history.\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EWhile relishing the publicity it attracted, the artist stayed out of the debate on its white-on-white theme, famously retorting that it \"simply represents a girl dressed in white standing in front of a white curtain\" – in line with the \"art for art's sake\" credo he subscribed to. Yet despite his apparent insouciance, he painted \"Jo\" – as he affectionately called her – in white at least five times, three in his symphonies series. MacDonald tells BBC Culture that, in her view,  Whistler's choice of a white dress was partly because it \"contrasted splendidly with her hair\", and the artist was excited by the technical challenge of painting white on white, a challenge the artist Auguste Renoir spoke later of sharing. \u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EWhistler and Hiffernan's backgrounds couldn't have been more contrasting. He had a privileged childhood in New England, and grew up surrounded by wealth. Hiffernan came from a poor working-class family from Limerick in Ireland, who arrived penniless in London. She had considerable innate talents; she was (according to Whistler's biographers Elizabeth R Pennell and Joseph Pennell) of \"next to no education, but of keen intelligence… [and] great charm of manner\". MacDonald says that Jo and her sister Agnes (who were close) were \"not quite on the streets… but it was very difficult for somebody with nothing to make a living in London. And they were beautiful, so modelling [for an artist] was certainly one option\".\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bpnkhc"],"imageAlignment":"centre","imageAltText":"Gustav Klimt's Portrait of Hermine Gallia","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Default\"\u003EIt was an option even if that modelling could be seen by \"polite society\" of her day as a fall from grace. And when Whistler first painted Hiffernan, he used vivid colours, and told his painter friend, Henri Fantin-Latour, she was like a \"\u003Cem\u003Eputain\u003C\u002Fem\u003E\" (prostitute). Although they never married in the legal sense, their relationship would last 20 years – until her death – and she was vitally important to him.  She not only posed for his best portraits – exposing herself in the process to lead white paint that may well have contributed to her death from a lung disease at 44 – she also cared for his son from an affair for many years, and sometimes managed his estate.\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EHer part in his great fame might have mostly gone unsung. But 160 years later, a fascinating spotlight falls on Hiffernan, her personality and their life together, as revealed in the Royal Academy exhibition.\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EMacDonald and her team were thrilled to discover, using X-radiographs, images buried under layers of some of his paintings (which he'd painted over to save on canvas) depicting Hiffernan \"her eyes looking devoutly upward, as if to heaven\", in the guise of \"a woman praying, saint or a nun\" as MacDonald puts it. \"All possible spiritual interpretations of the model's expression at this stage.\"\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003E\u003Cstrong\u003E\"Incandescent beings\"\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EWhite in artworks carries \"a wide spectrum of meanings,\" says Marina Warner, historian, art critic and author of books including Stranger Magic, and Monuments and Maidens. \"If it's shining, as it is with the curtain in The White Girl, it brings a sense of being close to light, and ideas of purity and cleanliness,\" Warner tells BBC Culture However, \"shining white is also associated with angels, which are incandescent beings – \u003Cem\u003Ecandidus\u003C\u002Fem\u003E is Latin for white, and light is the origin of things. If you read Dante's Commedia [later known as The Divine Comedy], as you rise to heaven, it gets brighter and brighter. So that connection of whiteness with goodness is very, very strong.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bpnnvt"],"imageAlignment":"centre","imageAltText":"The Somnambulist by Millais","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Default\"\u003EThe dress in the painting is \"not shiny\" she points out \"and in this she's less angelic than nubile. Also a strong symbolic meaning of whiteness is a threshold – if you're a candidate or a novice up to become a nun, you wear white, as you do for your first communion; and if you marry you wear white and pass across the threshold of maidenhead into the world of sexuality\". \u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EWarner notes the model's \"red lips, and hair hanging loose, possibly a sign of availability. She looks apt to surrender without much of a struggle. A hint of dangerous sexuality in the wolfskin… even the flowers in the carpet are hinting at fruition or fertility\". Indeed, the Woman in White curators believe Whistler's white-clad series may have been inspired by Jean-Baptiste Greuze's painting \u003Ca href=\"https:\u002F\u002Fcollections.louvre.fr\u002Fen\u002Fark:\u002F53355\u002Fcl010059258\"\u003ELa Cruche Cassée\u003C\u002Fa\u003E (1771),\"with its depiction of fair young flesh and a silky, disarrayed white dress,\" as MacDonald's book describes it. But as Warner says, white conveys a wide spectrum of connotations. She, like Courbet before her, finds the figure \"rather spectral. I mean, in Victorian psychic photographs, ghosts are white, and there's something insubstantial, phantom-like about her. And of course, in many religions, whiteness is the colour of death\".          \u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EThe painting's success influenced striking works of that time, such as Frederick Sandys' Gentle Spring (1865); Sir John Everett Millais' The Somnambulist (1871); The Woman in White (1871) by Frederick Walker; Gustav Klimt's Portrait of Hermine Gallia (1904); John Singer Sargent's intriguing Fumée d’Ambre Gris (1880);  and arresting portraits by Berthe Morisot, such as her \u003Ca href=\"https:\u002F\u002Fwww.nga.gov\u002Fcollection\u002Fart-object-page.52191.html\"\u003EThe Artist's Sister at a Window\u003C\u002Fa\u003E (1869). MacDonald's co-author, Aileen Ribeiro, notes how Morisot \"loved to depict these soft, floating, semi-transparent white morning gowns in private, informal, domestic settings\". She references The Awakening Conscience by William Holman Hunt (1853), which \"announces the sexual relationship between the young man and his mistress by specificity of her bedroom attire, a looser, striped white bodice over a white cotton broderie-anglaise petticoat… White then is an ambiguous colour; it can encompass a variety of meanings, from innocence to the lack of it\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bpnqjf"],"imageAlignment":"centre","imageAltText":"Berthe Morisot painting","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Default\"\u003EWriting on the symbolism of white in relation to fashion, Ribeiro observes: \"It was Wittgenstein who said that white is 'that which does away with darkness', and for this reason is often linked to virtue, purity, cleanliness and humility\". She lists the white \u003Cem\u003Etoga virilis\u003C\u002Fem\u003E of ancient Rome, a symbol of the common good; white worn by monarchs at their coronations to underline their duty to the state and people; white associated with faith and religious rites, such as pilgrims to Mecca. There's the fact Popes have worn white since 1566, as a symbol of purity and sacrifice, and it's worn by priests and priestesses in the Shinto religion in Japan, where white has been an auspicious colour since ancient times.\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EOf course there are countless portrayals of white-clad figures in modern art, from Whistler via Klimt's women in dresses gauzy as butterfly wings, through to \u003Ca href=\"https:\u002F\u002Fwww.metmuseum.org\u002Fart\u002Fcollection\u002Fsearch\u002F488711#:~:text=Woman%20in%20White%201923&text=Picasso%20painted%20this%20work%2C%20one,expatriates%20Gerald%20and%20Sara%20Murphy.\"\u003EPicasso's Woman in White\u003C\u002Fa\u003E (1923) to the vivid self-portraits by Frida Kahlo. One of Kahlo's paintings in which white plays heavily with colour symbolism is \u003Ca href=\"https:\u002F\u002Fartsandculture.google.com\u002Fstory\u002Fthe-two-fridas-1939\u002F_wJCem8xJOWKLw\"\u003EThe Two Fridas\u003C\u002Fa\u003E (1939).  She depicts herself in two guises – one Frida in Western clothes, the other in a formal white dress with traditional Tehuana trimming, her exposed heart bleeding on to its white skirt; it's been suggested the white Frida was the life she wished to have but eluded her (children, and happiness with Diego Rivera, from whom she had recently divorced). Kahlo said the picture expressed her desperation and loneliness. \u003Ca href=\"https:\u002F\u002Fwww.hrc.utexas.edu\u002Ffrida-kahlo-self-portrait\u002F\"\u003ESelf Portrait with Thorn Necklace and Hummingbird\u003C\u002Fa\u003E (1940) is arguably her best-known work featuring herself: her white dress is like a crucifixion shroud, as a neckpiece of thorns, rather than a crown, pierces her skin.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-12"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Wearing white to highlight gender equality – and as an emblem of female empowerment – is still very much with us","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Default\"\u003EWhite dresses as a tradition for weddings is not as long-held as we might think – in fact, it was Queen Victoria's choice of a \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20140503-how-wedding-dresses-evolved\"\u003Ewhite wedding dress\u003C\u002Fa\u003E finished in lace (to help the ailing lace industry), that inspired a public fashion for bridal white. Bridal fashion expert, Peta Hunt recently told wedding website \u003Ca href=\"http:\u002F\u002Fhitched.co.uk\u002F\"\u003Ehitched.co.uk\u003C\u002Fa\u003E that we will see \"a lot more coloured wedding dresses – pinks, blues, blush\" and a return of black wedding dresses \"for high glamour and drama\". Wearing white has figured as a protest tool for women since the early 1900s, notably the British and US Suffragettes. White is the colour \"\u003Ca href=\"https:\u002F\u002Fwww.nationalgeographic.com\u002Fhistory\u002Farticle\u002Fdecoding-symbols-womens-suffrage-movement\"\u003Emost associated with suffragists today\u003C\u002Fa\u003E,\" writes Erin Blakemore for National Geographic. \"Long associated with youth, virginity and moral virtue, white suggested that women could be expected to vote for politicians and policies that would better society.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-14"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bpnnpz"],"imageAlignment":"centre","imageAltText":"Painting by Sandys","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Default\"\u003EWearing white, Emmeline Pankhurst strode out as leader of the Women's Social and Political Union, to promote votes for women at public marches, including the biggest demonstration of its time in the UK, in Hyde Park, June 1908. A long white dress, worn with purple (symbolising dignity, self-reverence and self-respect) or green (for hope and new life), became an easy-to-assemble uniform for Suffragists attending political rallies. White garments also stood out starkly against the crowds of men in dark suits – an early prototype of the clever photo op.    \u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EWearing white to highlight gender equality – and as an emblem of female empowerment – is still very much with us. In 2019, Donald Trump faced a sea of suffragette white at his State of the Union address, as female Democratic members of Congress \u003Ca href=\"https:\u002F\u002Fwww.newyorker.com\u002Fnews\u002Fcurrent\u002Fthe-joyful-defiance-of-the-congresswomen-in-white-at-the-state-of-the-union\"\u003Estepped up in pristine white clothes\u003C\u002Fa\u003E: \"We'll honour those who went before us and send a message of solidarity, we're not going back on our hard-earned rights,\" said Lois Frankel, of the House Democratic Women's Working Group. While Christine Holgate, former Australia Post CEO, wore a white jacket when appearing before a Senate inquiry – part of the Wear White 2 Unite campaign to encourage people to support her call for an end to workplace bullying.\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EIf she were still alive today, what would Joanna Hiffernan, the original Woman in White, make of the idea of white worn by women as a political statement? She'd probably snort with laughter, and be right behind it, judging by her wry humour and pragmatism, as revealed in the book. And what if she could walk around the Royal Academy, and witness the more than 70 paintings, etchings and Japanese prints that inspired her great friend, to see that the most eagerly sought-out artworks were of herself? That her talents and contributions to Whistler's oeuvre had at last been appreciated, and that she had finally been given her moment in the sun, would be gratifying indeed.\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.royalacademy.org.uk\u002Fexhibition\u002Fwhistler-woman-in-white\"\u003EWhistler's Woman in White\u003C\u002Fa\u003E\u003C\u002Fem\u003E\u003Cem\u003E is at the Royal Academy, London, from 26 February to 22 May 2022.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece-16"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2022-02-21T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The Woman in White and the meanings hidden in a masterpiece","headlineShort":"The meanings hidden in a masterpiece","image":["p0bpnlb7"],"imageAlignment":"centre","imageAltText":"The Woman in White by Whistler","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"The Woman in White by Whistler","promoImage":["p0bpnlb7"],"relatedStories":null,"relatedTag":["tag\u002Fart"],"summaryLong":"In art, spirituality and protest, a woman wearing white is a powerful symbol. Is she a goddess, a ghost, a \"fallen woman\" – or something else entirely, asks Beverley D'Silva.","summaryShort":"How the enigmatic Woman in White has symbolised sex, spirituality and power","tag":["tag\u002Fart-history"],"textToSpeech":false,"creationDateTime":"2022-02-21T00:00:05.116675Z","entity":"article","guid":"c9061b84-79ec-47e6-babf-f9479a6fb2fb","id":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece","modifiedDateTime":"2022-02-24T14:11:30.754857Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20220217-the-woman-in-white-the-meanings-hidden-in-a-masterpiece","cacheLastUpdated":1647023516175},"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia","_id":"621e43f645ceed2fab6a14ba","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fcath-pound"],"bodyIntro":"From ancient times to today, portraiture has told us fundamental truths about humanity and identity, whoever the subject. Cath Pound explores the genre's most powerful examples.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPortraiture has a unique place in the history of art. By looking at who was portrayed, and how, we are able to gain insights into social, cultural and political history that no other type of painting can offer. The fact that it offers an opportunity to connect with individuals who were, or are, living breathing human beings just like us, also makes it one of the most accessible and popular; it is the only genre with its own dedicated galleries, and has offered inspiration for countless major exhibitions.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210118-the-secret-lives-of-the-first-ladies\"\u003EThe secret lives of the first ladies\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece\"\u003EThe private life of a masterpiece\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege\"\u003EThe artist skewering white privilege\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\"Portraiture stands apart from other genres of art as it marks the intersection between portrait, biography and history. They are more than artworks; when people look at portraits, they think they are encountering that person,\" says Alison Smith, chief curator at the National Portrait Gallery in London.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bm7lq6"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe genre's origins can be traced back to ancient times, when it served a number of functions, from exalting those in power to remembering the dead. The 1st and 2nd Centuries AD saw the Fayum area of Roman Egypt produce astonishingly naturalistic portraits that appeared on mummy cases. It is thought they may have hung in people's homes during their lifetimes, and after death were placed over the head of their mummy in order to aid their journey to the afterlife. In Ancient Rome portrait sculpture was used to commemorate the dead or celebrate the achievements of the living. In both cases, attention was drawn to the person's lineage, which was of great importance in Roman society. Imperial portraits were a valuable tool for propaganda. Placed in temples of the imperial cult, they were designed to inspire awe and subordination.\u003C\u002Fp\u003E\n\u003Cp\u003EAlthough few examples of portraiture survive from the Middle Ages, those that do served similar purposes as those from classical times. The stunning life-sized mosaics of the Emperor Justinian and Empress Theodora in the church of San Vitale in Ravenna – which date from the 6th Century – are a particularly spectacular demonstration of power.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Portraits commemorate, celebrate, and show us who we were – and who we are now","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EStand-alone portraits of those in the middle ranks of society did not appear until the 15th Century with Jan van Eyck's The Marriage of the Arnolfini from 1434 being one of the most renowned. One of the first standing double portraits in the history of art, the couple's lifelike countenances combined with the mysterious symbolism hidden within the painting make it enduringly popular with visitors to London's National Gallery.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bm7lls"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt was during the Renaissance that portraiture truly came into its own. This has often been thought to be the result of a growing sense of individuality stimulated by an increasing interest in humanism, but Matthias Ubl, curator of the Rijksmuseum's recent \u003Ca href=\"https:\u002F\u002Fwww.rijksmuseum.nl\u002Fen\u002Fwhats-on\u002Fexhibitions\u002Fpast\u002Fremember-me\"\u003ERemember Me\u003C\u002Fa\u003E exhibition, cautions against this overly simplistic viewpoint. \"There were many factors helping portraiture to flourish at that time,\" Ubl tells BBC Culture. \"It was a period of innovation and stirring things up. Humanism became very important, so the self did too in a way, but that was not everything. The growth of cities saw the rise of a mercantile elite which wanted to mirror the nobility by having their portrait painted.\"\u003C\u002Fp\u003E\n\u003Cp\u003EAnd while these newly-wealthy businessmen were keen to show off their success, there were certain expectations that had to be abided by for the sake of propriety. \"You still have the Church, you also have guild regulations, and they have to adhere to what society expected of them, whether that was being a virtuous woman or a good merchant,\" says Ubl.\u003C\u002Fp\u003E\n\u003Cp\u003EThese good merchants can be seen in Hans Holbein's Portrait of Georg Gisze and Jan Gossart's Portrait of Jan Jacobsz Snoeck. Like most merchants of the era, they are likely to have traded in a diverse range of goods. However, any allusion to this merchandise is conspicuous by its absence, perhaps because it was too closely associated with manual labour. Instead they chose to show themselves lavishly dressed and surrounded by letters, documents and writing materials. It was status and wealth that they wished to emphasise.\u003C\u002Fp\u003E\n\u003Cp\u003EAlthough the status and wealth of women were equally obvious in the fine clothing and jewellery they wore in their portraits, it was their beauty and virtue that patriarchal expectations forced them to emphasise, the former often being thought of as a physical manifestation of the latter. Even someone as powerful as Queen Elizabeth I knew her authority rested in no small part on her image as the \"Virgin Queen\", married to England. In the \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20181012-is-this-the-real-face-of-the-virgin-queen\"\u003EArmada Portrait\u003C\u002Fa\u003E by an unknown artist (currently on display at \u003Ca href=\"https:\u002F\u002Fwww.rmg.co.uk\u002Fqueens-house\"\u003EQueen's House\u003C\u002Fa\u003E, London) which was painted to celebrate the defeat of the invading Spanish navy, her hand rests confidently on a globe. Her bodice is encrusted with pearls, an appropriately sea-grown emblem of virginity.  Notable exceptions to that rule were self-portraits by female artists such as \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210305-caterina-van-hemessen-an-unknown-visual-pioneer\"\u003ECatharina van Hemessen's Self Portrait at the Easel from 1548\u003C\u002Fa\u003E, in which she portrays herself working at her craft. \"Her portrait is the earliest we know showing an artist painting at an easel. It's interesting that it was a female artist when they were so rare,\" notes Ubl.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bm7lwm"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPortraiture's growing importance was solidified in the 17th Century when the French Royal Academy created a hierarchy of genres and placed it second only to history painting. The assumption was that it would document the great and the good, and thus serve as an accompaniment to the highest of all genres. This newly designated role for portraiture was behind the formation of the earliest portrait galleries, such as Charles Willson Peale's Gallery of Illustrious Personages which opened in Philadelphia in the 1770s, and featured many figures who had signed the Declaration of Independence. The UK's National Portrait Gallery followed in 1856 with the very first work to enter the collection being a portrait of William Shakespeare.\u003C\u002Fp\u003E\n\u003Cp\u003EAlthough these galleries only collected portraits of those they considered to be notable, with all the class, sex and race biases that this inevitably involved, outside their walls the genre was becoming ever more diverse. As the 19th Century progressed, portraiture became increasingly associated with the rising bourgeoisie. Their perceived vanity was mocked by many writers and critics but the rise in this form of portrait was indicative of the major social and political changes sweeping throughout western Europe, which saw the middle classes gaining more power and influence as monarchs were forced to bow to the authority of parliaments. The advent of photography was an important factor in democratising who could be portrayed but so too were changing views about the roles of individuals in society. Artists themselves played a major part in deciding who was worthy of depiction, boldly challenging social conventions as they did so.\u003C\u002Fp\u003E\n\u003Cp\u003EThe self portrait has of course also been an important part of artistic expression. Van Gogh's iconic Self Portrait with Bandaged Ear, painted after he cut off part of his ear following an argument with Gauguin, is a powerful demonstration of his determination to continue painting despite the trauma. It takes centre stage at the \u003Ca href=\"https:\u002F\u002Fcourtauld.ac.uk\u002Fwhats-on\u002Fvan-gogh-self-portraits-22\u002F\"\u003ECourtauld's current exhibition\u003C\u002Fa\u003E of his self-portraits.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003E'Fellowship of human beings'\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EPaula Modersohn-Becker, recently the subject of a major retrospective at the \u003Ca href=\"https:\u002F\u002Fwww.schirn.de\u002Fen\u002F\"\u003ESchirn Kunsthalle\u003C\u002Fa\u003E in Frankfurt, also famously made herself the subject of her portraits, along with other women, children and the local peasantry. Influenced by the Fayum mummy portraits which she discovered in Paris around 1905, her portraits have a psychological intensity rare in depictions of women at the time. Although her choice of models was at least partly down to convenience, she nevertheless treats the humblest of subjects with the utmost dignity. \"They were the poorest in society and she gave them an air of timelessness, almost holiness,\" says curator Ingrid Pfeiffer.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bm7l22"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EModersohn-Becker's almost pantheistic love of nature is evident throughout her work including in her most famous painting Self Portrait on the Sixth Wedding Anniversary painted in 1906 where she appears nude from the waist up. Although she appears to be pregnant, she was not. \"Her belly is a symbol of fertility, both human and artistic,\" says Pfeifer. Modersohn-Becker was acutely aware of her talent but at the same time knew her subject matter meant the work could never be exhibited. \"Nobody saw it during her lifetime, not even (her husband) Otto. She knew she was painting something completely taboo,\" says Pfeiffer.\u003C\u002Fp\u003E\n\u003Cp\u003ELike Modersohn-Becker, 20th-Century artist Alice Neel was unafraid to challenge convention. Rejecting the abstract expressionism that dominated the artworld at the time, she saw portraiture as a way in which to create a visual history of her era. Instinctively drawn to those on the margins of society she was able to critique the circumstances they found themselves in while still portraying them with dignity. \"For her it's a way of changing society,\" says Lucía Agirre, who curated the recent exhibition of Neel's portraits at the \u003Ca href=\"https:\u002F\u002Fwww.guggenheim-bilbao.eus\u002Fen\u002F\"\u003EGuggenheim in Bilbao\u003C\u002Fa\u003E.\u003C\u002Fp\u003E\n\u003Cp\u003E\"She had a special empathy with her sitters. Usually she chose people she really liked, kids in the street or activists or her friends who were communist writers. For her these people have something to say,\" explains Agirre. Neel had a particular affinity for the emotional and physical struggles of women, especially deprived women such as herself, and did not shy away from subjects that were taboo, including the domestic abuse of her neighbour Peggy. \"In 1949 she made this beautiful portrait of Peggy, and you see the marks on her face but at the same time she gives her dignity. At that time it was something you just didn't talk about,\" says Agirre.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bm7kkq"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAlthough Neel did not gain recognition for her ground-breaking portraits until relatively late in her career, their documentary and democratic nature reveals the continuing relevance of portraiture, as well as the multiple functions that portraits can serve. They commemorate, celebrate, and show us who we were – and who we are now.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-12"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Whereas in the past it was really a mark of rank or status or celebrity, I think now portraiture is more about identity – Alison Smith","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPast collecting practices combined with the fact that many notable figures never had the opportunity to be painted or photographed means that portrait galleries can never hope to be wholly representative of a nation's past, but the closer we get to the present, the more inclusive the representation becomes. \"Our criteria for admissions is much broader now. It goes beyond political, religious and legal figures. It's more democratic and today we celebrate different forms of achievement,\" says Smith. And certain historical biases can be addressed.\u003C\u002Fp\u003E\n\u003Cp\u003EThe lack of representation of women is something the \u003Ca href=\"https:\u002F\u002Fwww.npg.org.uk\u002Fvisit\u002Freframing-narratives-women-in-portraiture\"\u003ENational Portrait Gallery is seeking to tackle\u003C\u002Fa\u003E while it is closed for refurbishment. Research is being done into women already in the collection and new acquisitions will be made. With such a vast range of portraits to draw on – there are 12,000 in the primary collection but the reference collection is around 400,000 – being asked to select highlights is a virtually impossible task. But when asked to do so, Smith's choices emphasise the unique nature of portraiture and the reasons for its enduring hold on the public's imagination. \u003Ca href=\"https:\u002F\u002Fwww.npg.org.uk\u002Fcollections\u002Fsearch\u002Fportrait\u002Fmw03080\u002FKing-Henry-VIII-King-Henry-VII\"\u003EHans Holbein's drawing\u003C\u002Fa\u003E of Henry VII and Henry VIII, a preparatory study for a painting now lost, and \u003Ca href=\"https:\u002F\u002Fwww.npg.org.uk\u002Fcollections\u002Fsearch\u002Fportrait\u002Fmw02079\u002FQueen-Elizabeth-I-The-Ditchley-portrait\"\u003EThe Ditchley Portrait of Elizabeth I\u003C\u002Fa\u003E, transport us into the orbit of some of the most celebrated monarchs in British history. They are also magnificent works of art in their own right.\u003C\u002Fp\u003E\n\u003Cp\u003EThe portrait of William Shakespeare and that of the Brontë sisters by their brother Branwell, which Smith also chooses, are not. However, they are some of the most popular with the public, simply because they offer a means of connection with such well-loved literary figures. Laura Knight's Self Portrait with Model is chosen as it is \"a really key work for the history of women in the arts \" while of the more contemporary commissions Smith selects \u003Ca href=\"https:\u002F\u002Fwww.npg.org.uk\u002Fcollections\u002Fsearch\u002Fportrait\u002Fmw284578\u002FMalala-Yousafzai\"\u003EMalala's portrait by Shirin Neshat\u003C\u002Fa\u003E which has been a huge draw for visitors.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-14"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bm7kb5"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAnd of course, beyond the great and the good, the humblest among us have the chance to be celebrated every year in the BP Portrait Award, although that is currently on hold while the gallery is closed. \"It's hugely popular because the people in that show are ordinary people. It could be your sister, your brother or some model you discovered on the street and found interesting,\" says Smith.\u003C\u002Fp\u003E\n\u003Cp\u003E\"It's that fellowship of human beings. Whereas in the past it was really a mark of rank or status or celebrity, I think now portraiture is more about existentialism. It's about psychology, who they are and how they fit into society. It's about identity,\" says Smith. Whether Emperor, actor, activist or everyday person on the street, that is something we all share – and explains why portraiture will never cease to command our attention.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia-16"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2022-02-07T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Why portraits have fascinated us for millennia","headlineShort":"The paintings that reveal the truth","image":["p0bm7kqr"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":["p0bm7m5l"],"relatedStories":null,"relatedTag":["tag\u002Fart-history"],"summaryLong":"From ancient times to today, portraiture has told us fundamental truths about humanity and identity, whoever the subject. Cath Pound explores the genre's most powerful examples.","summaryShort":"How the most powerful portraits tell us everything about humanity and identity","tag":["tag\u002Fart-history"],"textToSpeech":false,"creationDateTime":"2022-02-07T00:00:13.006107Z","entity":"article","guid":"398f97bf-eb67-4c9f-b61e-f5fc8feadf66","id":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia","modifiedDateTime":"2022-02-24T14:11:00.102057Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20220204-why-portraits-have-fascinated-us-for-millennia","cacheLastUpdated":1647023516177},"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220128-black-british-experience-laid-bare","_id":"621e43f545ceed1ff773048f","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fprecious-adesina"],"bodyIntro":"The often stark reality of Caribbean-British life has been reflected in art over the decades. Precious Adesina explores the remarkable artworks that reveal some uncomfortable truths.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn Spirit of the Carnival (1982) by Tam Joseph, a masked performer wearing a fiery yellow ensemble is surrounded by a sea of riot police. The painting depicts a Sensay, a person in a traditional Dominican masquerade costume, with their hands stretched out as an angry dog breaks through the circle the officers have formed around the man. Joseph remembers going to Notting Hill Carnival with his parents growing up; the place being filled with friends, family and people of Caribbean heritage who were looking for something that reminded them of their culture. But it was the tension between carnival-goers and the police that stood out to him, inspiring this composition.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210429-race-royalty-and-the-black-aristocrats\"\u003EBritain's first black aristocrats\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200826-the-street-party-that-revolutionised-britain\"\u003EThe real history of Notting Hill\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege\"\u003EThe artist skewering white privilege\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWith the resurgence of the Black Lives Matter movement over the past couple of years, Joseph's work feels as if it could have been made today. However the artist wants people to feel the excitement and vibrancy of the \u003Ca href=\"https:\u002F\u002Fissuu.com\u002Fcreoleheartbeat2021\u002Fdocs\u002Fcreole_heartbeat_issue__3_online\u002Fs\u002F11607439\"\u003ESensay\u003C\u002Fa\u003E, rather than getting caught up in socio-political discourse.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bkmdjg"],"imageAlignment":"centre","imageAltText":"Sky at Night by Tam Joseph","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut, walking through \u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fwhats-on\u002Ftate-britain\u002Fexhibition\u002Flife-between-islands\"\u003ELife Between Islands\u003C\u002Fa\u003E at Tate Britain, an exhibition about  Caribbean-British art from the 1950s until today – where the painting can currently be found – it's hard to ignore the artworks that conjure up conversations around race – discussions that are still as prevalent today as they were 70 years ago. This is especially the case after the \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fuk-43782241\"\u003EWindrush Scandal\u003C\u002Fa\u003E in 2018, and the 2020 global \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fworld-us-canada-53273381\"\u003Eprotests\u003C\u002Fa\u003E following the murder of George Floyd in the United States. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The black arts movement in the 1980s was unsparing in confronting the contemporary realities of racism in Britain – Alex Farquharson","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAlex Farquharson, director of the gallery and co-curator of the exhibition, alongside the art historian David A Bailey, says that he started working on Life Between Islands six years ago, before both incidents. \"Black people in Britain, including artists in the exhibition, have often had to deal with extreme hostility and societal discrimination,\" he says, noting that he doesn't see Life Between Islands as deeply political. \"Some of the documentary photography reflects that depressing reality and the courageous struggles against it, but there are as many photographs in the exhibition from the 60s, 70s and 80s that convey creativity, joy, intimacy and community.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare-4"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EDespite this, the relationship between black people and the police is apparent on multiple occasions, as does the discrimination against black people in Britain, especially around the time of Joseph's paintings. \"The early work of the \u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fart\u002Fart-terms\u002Fb\u002Fbritish-black-arts-movement\"\u003Eblack arts movement\u003C\u002Fa\u003E in the 1980s was often unsparing in confronting the contemporary realities of racism in Britain,\" Farquharson says. This was particularly the case with the \u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fart\u002Fart-terms\u002Ft\u002Fblk-art-group\"\u003EBLK Art Group\u003C\u002Fa\u003E, a collective of young black artists founded by Eddie Chambers in 1979. The curator points out Chambers's \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fprogrammes\u002Farticles\u002F5mMhfBSwXtsyDYS4K6Rz3v9\u002Ffour-artworks-that-explore-what-it-meant-to-be-black-and-british-in-the-1980s\"\u003EThe Destruction of the National Front\u003C\u002Fa\u003E (1979-1980) a four-part collage that sees the Union Jack transform into a swastika. \"[It] epitomises that early phase of the black arts movement,\" he says. \"This was at the height of the 'popularity' of the National Front, who would parade with impunity through black and Asian communities.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\"Police harassment of young black British people was routine, unemployment very high, and the political rhetoric often inflammatory – black and Asian people were described as having 'swamped' Britain by \u003Ca href=\"https:\u002F\u002Fwww.nytimes.com\u002F1978\u002F02\u002F22\u002Farchives\u002Fmrs-thatcher-touches-a-nerve-and-british-racial-tension-is-suddenly.html\"\u003Ethe Prime Minister at the time\u003C\u002Fa\u003E,\" he adds. \"The pent-up anger boiled over in major riots, or \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fuk-england-london-56678926\"\u003Euprisings\u003C\u002Fa\u003E, in Brixton, Toxteth and many other urban centres in 1981.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare-5"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bkmf3v"],"imageAlignment":"centre","imageAltText":"Territories by Isaac Julien","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare-6"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIsaac Julien's documentary Territories (1984), made while Julien was still a student, looks at the role of the media in portraying carnival, using a montage of beautiful scenes alongside archival news reports. \"The music was dismissed as noise, the dancing as… sexual misconduct and debauchery,\" says one narrator, before an interviewee discusses how police presence at carnival in 1976 caused uprisings. \"The police attitude is aggression against sound systems on [street] corners because they see any gathering of young black people as threatening,\" the man says.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare-7"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Most of all, I wanted to make art about the dreadful ways in which my beloved son was being treated – Barbara Walker","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare-8"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EMore recently, Barbara Walker's drawings in the exhibition look at the misrepresentation and stereotyping of black communities, but from a more personal perspective. \u003Ca href=\"https:\u002F\u002Fwww.barbarawalker.co.uk\u002Findex.php\u002Fproject\u002Flouder-than-words\u002F\"\u003ELouder than Words\u003C\u002Fa\u003E is a series created between 2006 and 2009 about Walker's son Solomon, which features copies of police dockets that were given to him while walking around their hometown Birmingham, during UK \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Ftopics\u002Fc152r5qee8rt\u002Fstop-and-search\"\u003Estop and search\u003C\u002Fa\u003E procedures (where police frisk members of the public). Drawings and paintings of her son or the places where he was stopped are superimposed on top of these documents or newspaper articles. One headline reads \"In The Wrong Place At The Wrong Time,\" alongside a detailed charcoal sketch of Solomon looking plainly at the viewer. \"I was intrigued about the almost ritualistic procedure of stop and search, but most of all, I wanted to make art about the dreadful ways in which my beloved son was being treated,\" Walker tells BBC Culture. She believed that by stopping her son, the police reduced him to a deviant. \"Why should he be roughly treated, as though he were a convicted criminal?\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare-9"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bkmdbz"],"imageAlignment":"centre","imageAltText":"Louder than Words by Barbara Walker","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare-10"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFarquharson says that the exhibition shows that Britain has come some way in the treatment of black people, albeit not far enough. \"The black contribution to British culture is stronger, more visible and more celebrated than at any time prior, especially in recent years,\" he says. \"But the events of the past few years were powerful reminders that racial injustices continue, often in ways that are invisible to white British people – Black Lives Matter has acted as a powerful wake-up call in that respect.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EThe exhibition \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fwhats-on\u002Ftate-britain\u002Fexhibition\u002Flife-between-islands\"\u003E\u003Cem\u003ELife Between Islands: Caribbean-British Art 1950s - Now\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E is at Tate Britain, London, until 3 April\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003E \u003C\u002Fstrong\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare-11"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2022-01-31T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The artists fighting racism","headlineShort":"The artists fighting racism","image":["p0bkmdnx"],"imageAlignment":"centre","imageAltText":"Spirit of the Carnival by Tam Joseph","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"Spirit of the Carnival by Tam Joseph","promoImage":["p0bkmdnx"],"relatedStories":null,"relatedTag":["tag\u002Fcontemporary-art"],"summaryLong":"The often stark reality of Caribbean-British life has been reflected in art over the decades. Precious Adesina explores the remarkable artworks that reveal some uncomfortable truths.","summaryShort":"How the stark reality of Caribbean-British life has been reflected in art","tag":["tag\u002Fidentity","tag\u002Fcontemporary-art"],"textToSpeech":false,"creationDateTime":"2022-01-31T00:00:10.746042Z","entity":"article","guid":"81b302e8-3835-4e27-a3f8-056a40a0b6ea","id":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare","modifiedDateTime":"2022-02-24T14:10:35.485572Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20220128-black-british-experience-laid-bare","cacheLastUpdated":1647023516178},"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece","_id":"621e43f445ceed2f3e0d451a","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fmatthew-wilson"],"bodyIntro":"Few other paintings in art history have become such a powerful symbol of non-conformist gender identity and same-sex attraction, writes Matthew Wilson.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EA record number of visitors queued outside the National Gallery in January 1922, despite the drizzly conditions, to see a single painting: Thomas Gainsborough's Blue Boy (c 1770). The artwork was bought by a US collector in 1921 and its imminent departure drew 90,000 people to get a last glimpse \u003Ca href=\"https:\u002F\u002Fwww.huntington.org\u002Fproject-blue-boy-history\u002F\"\u003Ewhat the press had dubbed\u003C\u002Fa\u003E \"the world's most beautiful painting\". An article in the London Times claimed that the Blue Boy exemplified the \"courtly grace and serene carriage of a people who knew themselves a great people and were not ashamed to own it.\" To the general population, Gainsborough's Blue Boy was the epitome of high culture and the noble British character.\u003C\u002Fp\u003E\n\u003Cp\u003EIn January 2022, \u003Ca href=\"https:\u002F\u002Fwww.nationalgallery.org.uk\u002Fexhibitions\u002Fgainsboroughs-blue-boy\"\u003EBlue Boy is making a centenary comeback to the UK\u003C\u002Fa\u003E and will once again be displayed in the National Gallery, now for a five-month run. But how many visitors this time around will know about the painting's private life as a symbol of gay pride?\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bjf3q2"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003Cbr \u002F\u003E\u003C\u002Fstrong\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20180615-unlocking-the-hidden-life-of-frida-kahlo\"\u003EUnlocking the hidden life of Frida Kahlo\u003Cbr \u002F\u003E\u003C\u002Fa\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20171204-frida-kahlo-and-diego-rivera-portrait-of-a-complex-marriage\"\u003EPortrait of a complex marriage\u003Cbr \u002F\u003E\u003C\u002Fa\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210709-paula-rego-is-this-britains-greatest-living-artist\"\u003EPaintings of 'rage, rebellion and pain'\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EValerie Hedquist, a professor of art history at the University of Montana, \u003Ca href=\"https:\u002F\u002Fcollections.britishart.yale.edu\u002Fcatalog\u002Forbis:14609900\"\u003Ehas written extensively about the painting\u003C\u002Fa\u003E and its role as a gay icon. It is partly a tale of unintended consequences, and how artists cede control of their creations once they are absorbed into the public arena. Hedquist tells BBC Culture that when Thomas Gainsborough painted Blue Boy in around 1770 \"it was most likely a demonstration piece to show off his talents\". The boy is believed to be the artist's nephew, Gainsborough Dupont, dressed in a 17th-Century aristocratic costume as an act of homage to Sir Anthony van Dyck, an artist whose techniques and compositions Gainsborough admired.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bjdt3b"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBack in 1770, the pose of Blue Boy would have struck people as noble, signalling an exemplary future husband and father. He is standing in an authoritative position known as \u003Cem\u003Econtrapposto\u003C\u002Fem\u003E, much used in classical art. The jutting elbow is another well-used pose in European portraiture, described by art historian Joaneath Spicer as \"indicative essentially of boldness or control – and therefore of the self-defined masculine role.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bjdlh1"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut for Hedquist, the idea that the boy in the painting is dressing up in costume and acting is critical to his later reappraisals: \"the Blue Boy invites performance,\" she says.\u003C\u002Fp\u003E\n\u003Cp\u003EThis began on stage in the 19th Century, where actors playing \"Little Boy Blue\" in pantomimes were frequently dressed up in the silks, breeches and lace collar of Gainsborough's Blue Boy. And these actors would frequently be girls. This, for Hedquist, was the start of the \"feminisation\" of Blue Boy. \"By the latter part of the 19th Century,\" she explained, \"the magazines are just filled with pictures of girls dressed as Blue Boy.\"\u003C\u002Fp\u003E\n\u003Cp\u003EIn 1922, the year that Gainsborough's painting found a new home in the US, Cole Porter performed his musical Mayfair and Montmartre, in which Nelly Taylor dressed as Blue Boy and theatrically emerged from a frame singing a song called Blue Boy Blues. Marlene Dietrich dressed as Blue Boy for a comedy revue in Vienna in 1927, and Shirley Temple did the same for the film Curly Top in 1935.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bjdvw1"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe painting had created a platform for gender identity to become blurred – Blue Boy could be either masculine or feminine in the fluid world of theatrical performance. According to Hedquist, another dimension to the story concerns the writer and leader of the Aesthetic Movement, Oscar Wilde. Wilde dressed in extravagant historically inspired clothing, frequently with knee-breeches, velvet jackets, cloaks and broad-brimmed hats in homage to painters like Gainsborough. In one photograph taken by Napoleon Sarony in 1882, Wilde, in swanky buckled shoes and knickerbockers, struck the exact pose of Blue Boy.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Photos of Wilde, misappropriated in medical books, embedded a savagely intolerant view of same-sex attraction, based closely around the stereotyped visual \"tells\" of Blue Boy","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhen Wilde was imprisoned for his homosexuality on charges of gross indecency in 1895, he became the most famous publicly gay man in the world – and the photographs of him by Sarony were misappropriated. According to Hequist, \"they eventually ended up in the first medical books that were teaching people how to recognise homosexuality\". It embedded a savagely intolerant view of same-sex attraction, based closely around the stereotyped visual \"tells\" of Blue Boy.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bjdwl1"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAfter Blue Boy arrived in the US, it became famous, appearing on ceramics, textiles and thousands of reproduction prints. How it was interpreted by its new host nation was also subject to the winds of cultural change. According to Hedquist, a formative episode was the so-called \"lavender scare\" in the 1950s in which gay men and women were perceived to be threats to national security and were hounded from government office. Common stereotypes of gay deportment – now laughable in their ignorance – such as lacy cuffs and fancy shoes, were cited as signifiers of these \"enemies within\".\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EA visual shorthand\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIt led to sinister comedic parodies of perceived gay behaviour in popular culture, with outlets including cartoon strips. In Mad Magazine in September 1970, one cartoon featured a character called Prissy Percy, who is teased by a group of sporty, all-American boys – the final scene reveals Percy to be Blue Boy. The cartoon's covert message and sentiment is homophobic; Hedquist sees it as Blue Boy's first \"outing\". A Dennis the Menace cartoon published in 1976 also featured the Blue Boy, where he was again labelled a \"sissy\".\u003C\u002Fp\u003E\n\u003Cp\u003E\"The emerging ideas about how people see gay men is so important to how the Blue Boy becomes an iconic image,\" says Hedquist, \"first of all as a source of ridicule and then as a reappropriation.\"\u003C\u002Fp\u003E\n\u003Cp\u003EThe reappropriation came in the form of a gay magazine first published in 1974, called \"Blue Boy\". The cover of the first issue featured a photo of Dale, a boxer from Ohio, in a homage to Gainsborough's masterpiece, albeit without any trousers and a conveniently repositioned hat. The magazine, brainchild of entrepreneur Don N Embinder, continued publishing until December 2007, and advertised products and services whose recurrent symbol was the Blue Boy. It recommended gay-friendly hotels and bars and fostered a sense of community. \"The first gay travel agency was called 'Blue Boy',\" Hedquist explains. \"They had cruises and hotels where men could be openly gay, wearing 'Blue Boy' T-shirts and carrying 'Blue Boy' travel bags. It was a full reappropriation and a celebration that the Blue Boy was gay.\" In the period after the Stonewall riots, this was a galvanising symbol, and has left a legacy of multiple \"Blue Boy\" gay bars around the world.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bjdxjx"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt also had an effect on visual art. US artist Robert Lambert created collages of photocopied imagery and sent them via mail to his friends, some of which included the Blue Boy as a signifier of his sexuality. Blue Boy was appropriated frequently by the US ceramicist Howard Kottler, a choice that expressed “explicit homosexual references”, according to art historian Vicki Halper. But the most explicit references to the Blue Boy came in the work of another US ceramicist, Léopold Foulem: according to Hedquist, he \"transformed the tentative allusions to gay content found in the work of Lambert and Kottler into a full-blown riot of queer significance\" with his highly provocative scenes of the Blue Boy in trysts with characters like Father Christmas and Colonel Sanders.\u003C\u002Fp\u003E\n\u003Cp\u003EOther artists who have identified as gay, such as Robert Rauschenberg and Kehinde Wiley, have cited Blue Boy as a major influence on their later output, with Wiley having recently created a direct homage \u003Ca href=\"https:\u002F\u002Fwww.huntington.org\u002Fkehinde-wiley\"\u003Ethat is currently on display\u003C\u002Fa\u003E at the Huntington Art Museum in California (in 1921, Henry and Arabella Huntington bought The Blue Boy from the art dealer Joseph Duveen, who had acquired it from the Duke of Westminster).\u003C\u002Fp\u003E\n\u003Cp\u003EWiley's painting, showing a 21st-Century Blue Boy with dyed blond dreadlocks, Apple watch and baseball cap, marks the culmination of a two-centuries-long journey of Gainsborough's original from a pillar of traditional cultural values to gay icon. According to Hedquist, Blue Boy is a game-changing symbol in the history of gay rights. Apart from its appeal to gay artists, its use as a branding emblem in Blue Boy magazine in the 1970s seemed to have a resounding historical significance. \"It was the first opportunity of a life that was open and acceptable,\" she says. \"It provided a means of leading a full public existence as a gay man – and it all came through Blue Boy.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003C\u002Fem\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E\u003Cem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003C\u002Fem\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Cem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003C\u002Fem\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece-14"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2022-01-21T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Gainsborough's Blue Boy: The private life of a masterpiece","headlineShort":"The private life of a masterpiece","image":["p0bjdzp5"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fart-history"],"summaryLong":"Few other paintings in art history have become such a powerful symbol of non-conformist gender identity and same-sex attraction, writes Matthew Wilson.","summaryShort":"How this painting became a symbol of gay pride","tag":["tag\u002Fart-history"],"textToSpeech":false,"creationDateTime":"2022-01-21T00:30:00.336264Z","entity":"article","guid":"d7f74fa1-eca6-4014-9523-b6f81486420e","id":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece","modifiedDateTime":"2022-02-24T14:10:03.952943Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20220120-gainsboroughs-blue-boy-the-private-life-of-a-masterpiece","cacheLastUpdated":1647023516179},"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted","_id":"621e43f445ceed2ba72f7725","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fholly-williams"],"bodyIntro":"A lesser-known art form allowed British aristocracy to circumvent rules of propriety, with in-jokes and suggestive messages hidden inside seemingly innocent images, writes Holly Williams.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ELook up the term \"collage\", and the Tate's website will inform you that this cut-and-paste method for making new work was \"first used as an artists' technique in the early 20th Century.\" Generally, Picasso and Braque get credited with inventing collage, with Picasso's decision to paste oilcloth into his painting Still Life with Chair Caning in 1912 considered a firing shot for an explosion of avant-garde art. And when photographs were included in such mixed-media works, the results were particularly witty, subversive, or downright unsettling – as seen in the photomontages by Dadaist Hannah Hoch and Surrealist Max Ernst, revolutionary Soviet artists Alexander Rodchenko and Varvara Stepanova, British pop artists like Richard Hamilton and Peter Blake, and Linder Sterling's punk collages.\u003C\u002Fp\u003E\n\u003Cp\u003ESo far, so coherent a journey through 20th-Century art trends. But what if the Cubists, the Dadaists and the Surrealists were actually predated in this innovation by… upper-class Victorian society women?\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20180615-unlocking-the-hidden-life-of-frida-kahlo\"\u003EUnlocking the hidden life of Frida Kahlo\u003Cbr \u002F\u003E\u003C\u002Fa\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20171204-frida-kahlo-and-diego-rivera-portrait-of-a-complex-marriage\"\u003EPortrait of a complex marriage\u003Cbr \u002F\u003E\u003C\u002Fa\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210709-paula-rego-is-this-britains-greatest-living-artist\"\u003EPaintings of 'rage, rebellion and pain'\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAround 1860, Britain was gripped with a craze for \u003Cem\u003Ecartes de visite\u003C\u002Fem\u003E – small photographic visiting cards, featuring staged portraits of the owner. It became \u003Cem\u003Ede rigueur\u003C\u002Fem\u003E to swap cards, with even only vague acquaintances eagerly collecting each other's image for their scrapbooks. Making photocollages in dedicated albums – by cutting up those calling cards and repurposing them within watercolour painted backdrops, to often silly, surreal or even suggestive effect – became quite the fashionable activity for members of the British aristocracy. Admiring each other's albums in drawing rooms was a popular after-dinner pastime. \u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bh9jf9"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn recent decades, the art of Victorian photocollage has become of increasing interest to photography and art history scholars – a book, \u003Ca href=\"https:\u002F\u002Fwww.artic.edu\u002Fprint-publications\u002F47\u002Fplaying-with-pictures-the-art-of-victorian-photocollage\"\u003EPlaying with Pictures\u003C\u002Fa\u003E by Elizabeth Siegel, was published in 2009 alongside an exhibition curated by Siegel at the Art Institute of Chicago, which then toured to \u003Ca href=\"https:\u002F\u002Fwww.metmuseum.org\u002Fexhibitions\u002Flistings\u002F2010\u002Fvictorian-photocollage\"\u003ENew York's Met Museum\u003C\u002Fa\u003E. Yet no dedicated exhibition has ever been hosted in the UK. Many of these albums still lurk in British country homes, undocumented by art historians, and this fascinating trend remains little-known to the general public.\u003C\u002Fp\u003E\n\u003Cp\u003EThere are many reasons for that, not least the fact that the people – mostly, but not exclusively, women – who made photocollages were doing so as a source of entertainment for their own social set, rather than creating artworks for display in a gallery. Photo collaging was considered an accomplishment, rather than a fine art.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bh9jq8"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"A degree of ability to draw or watercolour paint, do ink work or cut paper work, were things that young women from the upper middle classes were taught,\" says Patrizia Di Bello, Professor of history and theory of photography at Birkbeck, University of London. \"But there wasn't anywhere else to take these skills.\" Like drawing and painting, photo collaging could only ever remain a hobby for these women, although the amount of time and effort some albums display suggest they did offer a considerable creative outlet.  \u003C\u002Fp\u003E\n\u003Cp\u003ENonetheless, being considered \"accomplished\" was also important in its own right, as a social rather than artistic skill: it meant you were a good guest or host. Di Bello points out that, after Queen Victoria did away with balls and dancing at court (wanting to project an image of gravity and respectability), \"young women who had albums – whether watercolour or photographs – were prized because they gave the court things to do. It did give you a social currency.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Cut-out heads are spliced onto the bodies of ducks or monkeys, juggled by jesters, or smoked out of a pipe","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhile there are no good sources detailing what people thought about specific photocollage albums, their function as a shareable entertainment is surely what led to some being so, well, inventive. Many offer little more than pretty embellishment of photographs – but some others prove witty, surprising, and mischievous.\u003C\u002Fp\u003E\n\u003Cp\u003ECut-out photographic figures are placed within painted drawing rooms or landscapes, but also more imaginatively arranged as if performing circus tricks or lost at sea, caught within a bird's nest or spider's web, or stuffed into pickle jars to be speared out with a fork. Cut-out heads are spliced onto the bodies of ducks or monkeys, juggled by jesters, or smoked out of a pipe. They're delightful, and they're often weird.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bh9jvj"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"Albums which are decorated in some way are fairly common,\" says Dr Marta Weiss, senior curator of photography at the V&A. \"But it's much more unusual to find ones that have this more imaginative, wacky, surrealist type collage.\"\u003C\u002Fp\u003E\n\u003Cp\u003EThe most ingenious were surely designed to dazzle the viewer with the maker's creativity, or their humour. Many contain visual puns, or in-jokes and coded messages, strengthening our understanding of these albums' social function – something for men and women to chuckle over together. They were even, Di Bello suggest, a means of flirting – both via what's depicted on the page, and simply through providing men and women with an excuse for sitting close together, to flick through an album.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EInsta-collage\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EPhotography itself was still a young art when these albums became fashionable – and it was the rise of affordable, mass-producible photographs that led to this playful approach to collecting and display. \"The albums were understood as the social media of its time,\" says Di Bello; collections of cards a sign of status much like Facebook or Instagram friend requests and follower counts. \u003C\u002Fp\u003E\n\u003Cp\u003EBut you could also purchase \u003Cem\u003Ecartes de visite\u003C\u002Fem\u003E of famous figures, including the Royal Family; inclusion in an album could be a sign you were personally acquainted, or just that you'd paid for their picture, adding an enjoyable level of gossipy intrigue.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"As photography becomes more and more produced on an industrial level and available to all, this is a way to de-democratise it – Dr Marta Weiss","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAnother result of this was that merely displaying your \u003Cem\u003Ecartes de visite\u003C\u002Fem\u003E was soon no longer good enough – and photo collaging became a way to elevate these mass-produced items that even the general public could simply buy in a shop into something rather more special. Only ladies of leisure would have the spare time, the watercolour skills, and the resources to craft such albums – \u003Cem\u003Ecartes de visite\u003C\u002Fem\u003E might be fairly affordable, but to chop them up as an amusement would have still seemed lavish to all but the most well-off.\u003C\u002Fp\u003E\n\u003Cp\u003E\"As photography becomes more and more produced on an industrial level and available to all, this is a way to de-democratise it,\" explains Weiss. \"They're taking something mass produced and then customising it, but it's also taking something machine produced and adding hand work to it.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bh9k52"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPhotocollages were certainly a means for their owners to flash their social status, accomplishment, wit, and society connections – not only by literally who they had photos of, but also how bold they felt able to be in playing with that person's image. And some are pretty bold, flirtatious and suggestive, upending received notions of Victorian propriety, Di Bello suggests.\u003C\u002Fp\u003E\n\u003Cp\u003EOne of her favourite examples is within an album by Lady Filmer, wife of MP Sir Edmund Filmer. It initially looks all very respectable: a drawing room scene featuring Lady Filmer with her own photocollage album (the collages are very frequently self-referential like this; Frances Elizabeth Bree's even features a miniature pop-up album, where you can turn the pages). The Prince of Wales is in attendance, but so are Lady Filmer's husband and brother, while her sisters' cut-out faces are turned into watching portraits on the walls.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bh9k9j"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut the Prince of Wales was a known philanderer, and he and Lady Filmer had struck up a rather suggestive correspondence, constantly sending each other photographs (astonishingly, via letters sent between the Prince and Sir Filmer himself – the audacity!) \u003C\u002Fp\u003E\n\u003Cp\u003E\"The Prince of Wales was courting Lady Filmer by sending photos of himself almost daily,\" says Di Bello. \"And we discovered that one of her daughters was known as Queenie in the family – rumoured to in fact to be the daughter of the Prince of Wales...\"\u003C\u002Fp\u003E\n\u003Cp\u003EKnowledge of such salacious gossip inevitably changes the meaning of the image. Suddenly, it's very noticeable that Lady Filmer is posed looking at the Prince, while her husband remains oblivious. \u003C\u002Fp\u003E\n\u003Cp\u003EBut nor is the image explicit enough to cause any problems. \"If I'm somebody who's an acquaintance, then I'm just impressed that the Prince of Wales is part of her circle,\" say Di Bello. \"But if I'm in the know, I can take more gossipy pleasure – or even jealousy – about her flaunting her connection.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-14"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bh9kfq"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EDi Bello also points to the implications of a photocollage of the pickle jar full of people. We may not know the exact relationships between them, but Di Bello suggests that the label on the bottle – \"Mixed Pickles\" – and the way the men and women are jumbled up together implies that \"these people had got themselves into a pickle!\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-16"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Photo collaging may have provided a fairly safe way for women to flirt – it's a slow and painstaking craft","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-17"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EA degree of skill at flirting seems to have been admired in the Victorian era, Di Bello discovered from research into etiquette books, books of parlour games, and Victorian fiction. \"Some flirting was part of what made a social occasion fun, but it wasn't supposed to go any further. It was always meant to [have] a very clear boundary. But in some circles, perhaps it was understood that these boundaries could be broken… So the idea of the guest guessing if things [depicted in photocollages] are really happening or not was part of the fun!\"\u003C\u002Fp\u003E\n\u003Cp\u003EPhoto collaging may have provided a fairly safe way for women to flirt – it's a slow and painstaking craft; there can be no unfortunate slip of the tongue or accidental moment of indiscretion. Women – always the ones who bore the cost of going too far in a flirtation – had a degree of control and agency when it came to adding just-the-right-amount of intrigue to their collages.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-18"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bh9kjh"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-19"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESome can be surprisingly explicit, however. Another by Lady Filmer shows a fox-hunting scene: she is the fox, while the pack of dogs hunting her all have men's heads. Her husband is on foot, rather than horseback, desperately trying to control the dogs… \u003C\u002Fp\u003E\n\u003Cp\u003E\"It seems almost openly feminist,\" say Di Bello. \"On the one hand, she's showing off that men come to pursue her – but if they catch her, she's going to be devoured. It's playful, then you realise 'oh my god, this is actually quite disturbing'. She's clever, but she's taking a big risk.\"\u003C\u002Fp\u003E\n\u003Cp\u003EMen did make photocollages too. But it seems that their albums were more often dedicated to documenting what they did or were interested in, rather than purely a social milieu. \"Men's albums related to their public identity: sites they've visited, travels they'd been on, bridges they had worked on – those kinds of things,\" says Di Bello. The album belonging to venture capitalist Sir Edward Blount, for instance, includes \u003Cem\u003Ecartes de visite\u003C\u002Fem\u003E showing men in military and business attire, or landscape shots showing colonial trade ports, as well as masculine leisure pursuits such as horse-racing and shooting. This suggests the album was a means of self-promotion for him, for impressing potential clients entertained at home.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-20"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0bh9kq9"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-21"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWeiss adds that photocollages need also to be seen within the context of wider cultural trends – some of the prettier ones illustrate popular fairy tales, or take inspiration from John Tenniel's fantastical illustrations of Alice in Wonderland. But Tenniel also worked as a caricaturist for the satirical magazine Punch – and there is a degree of overlap between caricatures and photocollage, especially in men's albums. \"I've seen examples of playful photocollage work that was made in the context of an all-male social club – heads put onto painted bodies in a caricature kind of way,\" says Weiss. \u003C\u002Fp\u003E\n\u003Cp\u003EAt first glance, Victorian photographs and watercolour scenes may look distinctly quaint to modern eyes. But look closer, and their cheeky juxtapositions and sly humour can help puncture our overly narrow notions of Victorian high society. \u003C\u002Fp\u003E\n\u003Cp\u003EWhile they may not quite have the revolutionary fervour or subversiveness of avant-garde 20th-Century artists, these Victorian creators nonetheless were taking the latest technology of their time and playing with it in wholly inventive new ways – to flirt, to show off, to strengthen social ties, but also to delight, to amuse, perhaps even to shock or unnerve. In its own way, this drawing-room art really was cutting edge. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted-22"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2022-01-17T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The surprising ways that Victorians flirted","headlineShort":"Surprising ways that Victorians flirted","image":["p0bh9ky8"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fart-history"],"summaryLong":"A lesser-known art form allowed British aristocracy to circumvent rules of propriety, with in-jokes and suggestive messages hidden in seemingly innocent images, writes Holly Williams.","summaryShort":"How a lesser-known artform allowed British aristocracy to circumvent etiquette","tag":["tag\u002Fart-history"],"textToSpeech":false,"creationDateTime":"2022-01-17T00:30:52.072048Z","entity":"article","guid":"eab0e267-2dc4-4dda-86d8-9f9c9b350faa","id":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted","modifiedDateTime":"2022-02-28T12:57:23.588093Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20220114-the-surprising-ways-that-victorians-flirted","cacheLastUpdated":1647023516181},"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius","_id":"621e43f345ceed28c85909d1","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fandrew-dickson"],"bodyIntro":"Forty years after her death, a new exhibition celebrates the work of Francesca Woodman, whose strange images remain fascinating riddles, writes Andrew Dickson.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAt first glance, the photograph looks straightforward enough. We're in a domestic interior of some kind. A large pane of glass leans against the wall; a dark doorway is behind. The paint is peeling, the floorboards dusty. Then you notice the apparition – a blurred shape approximately identifiable as human. Whoever this person is, they appear to be dangling from above the frame, or possibly leaping down into it. A glitch with the film? A ghost transforming itself from ectoplasm into human form?\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211202-the-most-striking-images-of-2021\"\u003EThe most striking images of 2021\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210705-how-the-new-woman-blazed-a-trail-of-empowerment\"\u003EThe photography pioneers who were erased\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211110-the-images-changing-how-we-see-oceans\"\u003EThe images changing how we see oceans\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAnother picture is even stranger. This one is of an old anatomical museum with glass cases on the wall displaying waxwork foetuses. Yet the most disturbing thing on view is the figure clad in a white leotard far-right, crouching on the floor with her arms bunched around her neck. She seems to be in deep distress. Panic? Terror? Despair? Again, her face is blurred, unreadable; whatever is going on here, we are left to guess.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-0"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Society loves the idea of tormented artists, particularly young female ones","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFour decades since her death, the photographs made by \u003Ca href=\"https:\u002F\u002Fwww.theparisreview.org\u002Fblog\u002F2012\u002F05\u002F23\u002Ffinding-francesca-woodman\u002F\" target=\"_blank\"\u003Ethe young American artist Francesca Woodman still feel like riddles\u003C\u002Fa\u003E. What are her hundreds of surviving prints – largely produced in the same small format, nearly all black and white – getting at, with their intense theatricality and gothic, ghoulish sensibility? Why did Woodman photograph herself again and again, \u003Ca href=\"https:\u002F\u002Fwww.sothebys.com\u002Fen\u002Fauctions\u002Fecatalogue\u002F2012\u002Fphotographs-n08841\u002Flot.186.html\" target=\"_blank\"\u003Eposing nude in graveyards\u003C\u002Fa\u003E and abandoned houses or entwining her body with \u003Ca href=\"https:\u002F\u002Fwww.thecollector.com\u002Ffrancesca-woodman-photographer-facts\u002F\" target=\"_blank\"\u003Etree roots and rotting vegetation\u003C\u002Fa\u003E? Is this feminist performance, a tribute to classical art, or something less placeable altogether? And what clues do these images offer about the woman who made them?\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b9024r"],"imageAlignment":"centre","imageOrientation":"square","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThat last question is especially fraught because, in January 1981, a few years after making these pictures, Woodman \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Fartanddesign\u002F2014\u002Faug\u002F31\u002Fsearching-for-the-real-francesca-woodman\" target=\"_blank\"\u003Etook her own life at the age of just 22\u003C\u002Fa\u003E. Her photographs had rarely been exhibited publicly, and a book she'd been working on hadn't yet been published; it was handed out at her funeral. \u003C\u002Fp\u003E\n\u003Cp\u003EPerhaps inevitably, this has only added to the myth-making. In the decades since Woodman's work was rediscovered – it's now been exhibited in major museums worldwide – few critics have been able to resist using the circumstances of her death as the key to unlock her work. Society loves the idea of \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20180824-the-artist-who-triumphed-over-her-shocking-rape-and-torture\" target=\"_blank\"\u003Etormented artists, particularly young female ones\u003C\u002Fa\u003E. Even better if they happened to be neglected during their lifetimes. As an article in Slate once put it, \u003Ca href=\"http:\u002F\u002Fwww.slate.com\u002Fblogs\u002Fbrowbeat\u002F2012\u002F03\u002F28\u002Fis_francesca_woodman_the_sylvia_plath_of_photography_what_her_guggenheim_show_reveals.html?via=gdpr-consent\" target=\"_blank\"\u003E\"Is Francesca Woodman the Sylvia Plath of photography?\"\u003C\u002Fa\u003E To which the only sane answer might be: \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210720-sylvia-plath-the-literary-icon-destined-to-remain-an-enigma\"\u003Ewhat does that even \u003Cem\u003Emean\u003C\u002Fem\u003E\u003C\u002Fa\u003E?\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"It feels important to give Francesca her own voice… it's about time – Lissa McClure","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EA new exhibition at the Marian Goodman gallery in New York invites us to look again at Woodman, perhaps more carefully and attentively. Pointedly entitled \u003Ca href=\"https:\u002F\u002Fwww.mariangoodman.com\u002Fexhibitions\u002Ffrancesca-woodman-alternate-stories\u002F\"\u003EAlternate Stories\u003C\u002Fa\u003E, it contains about 50 photographs and contact sheets, nearly half of which have never been seen publicly before. Revealing excerpts from her copious notes and writings are printed in the accompanying catalogue. \u003C\u002Fp\u003E\n\u003Cp\u003E\"It feels important to give Francesca her own voice,\" says Lissa McClure, head of the Woodman Family Foundation, which guards the photographer's legacy and is behind the new show. \"It's about time.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EA master image-maker\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWoodman was born in Denver, Colorado to a family in which, according to her older brother Charles, art was a kind of religion. \"It was like a background, just there,\" he tells BBC Culture over the phone, from his home in California. Their mother, \u003Ca href=\"https:\u002F\u002Fwww.woodmanfoundation.org\u002Fbetty\u002Fbiography#:~:text=Woodman%20was%20born%20in%20Norwalk,buy%20an%20ocean%20liner%20ticket.\" target=\"_blank\"\u003EBetty, made ceramics\u003C\u002Fa\u003E; their father, \u003Ca href=\"https:\u002F\u002Fwww.woodmanfoundation.org\u002Fgeorge\u002Fbiography\" target=\"_blank\"\u003EGeorge, was a painter and taught at the university\u003C\u002Fa\u003E. Though money wasn't plentiful, Charles recalls family holidays in Europe during which the kids spent most of their time being dragged through museums and galleries, imbibing art. \u003C\u002Fp\u003E\n\u003Cp\u003E\"Oh, endlessly dragged,\" he laughs. \"We kind of assumed that was normal – of course we'd been to the Sistine Chapel, of course we've been to the Prado, to the Louvre.\" (Charles, too, ended up as an artist, \u003Ca href=\"http:\u002F\u002Fsignalculture.org\u002Fcharles-woodman.html\" target=\"_blank\"\u003Ethis time in video and electronics\u003C\u002Fa\u003E.)\u003C\u002Fp\u003E\n\u003Cp\u003EFrancesca's way in was the medium-format Yashica camera her father gave her when she went to boarding school in 1972. Encouraged by a teacher, she started taking pictures almost immediately and appears to have emerged, astonishingly, almost fully formed. One remarkable early work, \u003Ca href=\"https:\u002F\u002Fwww.victoria-miro.com\u002Fexhibitions\u002F413\u002Fworks\u002F42b4e7be57c398\u002F\" target=\"_blank\"\u003ESelf-Portrait at 13\u003C\u002Fa\u003E, shows her in baggy fisherman's sweater and trousers, face swallowed by a mane of thick hair, caught in a halo of light (she appears to be operating the shutter-release with a stick or cable pulled taut, which becomes a ghostly presence in the frame). Even the title is an art-historical in-joke – a reference to \u003Ca href=\"https:\u002F\u002Fnews.artnet.com\u002Fart-world\u002Falbrecht-durer-3-things-to-know-1970024\" target=\"_blank\"\u003Ea famous self-portrait made by the Renaissance artist Albrecht Dürer\u003C\u002Fa\u003E at the same age.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b903q2"],"imageAlignment":"centre","imageOrientation":"square","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOther early images pay homage to Romantic landscapes by \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20130510-german-art-out-of-the-darkness\"\u003ECaspar David Friedrich\u003C\u002Fa\u003E or call to mind Victorian \"spirit photography\", in which \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Ffuture\u002Farticle\u002F20150629-the-intriguing-history-of-ghost-photography\" target=\"_blank\"\u003Ephotographers used all manner of tricks\u003C\u002Fa\u003E (blurring from slow shutter speeds, lens flare, double-exposures) to make it seem as if ghosts were being caught on film. It's also possible to see the imprint of surrealist photographers such as \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Fartanddesign\u002F2019\u002Fnov\u002F15\u002Fdora-maar-picassos-weeping-woman\" target=\"_blank\"\u003EDora Maar\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201030-how-man-ray-changed-fashion-photography-forever\"\u003EMan Ray\u003C\u002Fa\u003E, as well as references to everyone from Edgar Allen Poe to Zola and Colette. \u003C\u002Fp\u003E\n\u003Cp\u003E\"She knew how to make a good photograph and she knew how to do that at a very young age,\" says McClure. \"The sophistication of her images and the content are just so rich.\"\u003C\u002Fp\u003E\n\u003Cp\u003EPerhaps the greatest influence on the young Woodman was Italy. She learned Italian when the family moved there for a time and returned to Rome in her study-abroad year from Rhode Island School of Design (RISD). As well as palling around with older artists – many of whom appeared a little overawed by her talents – she was heavily touched by classical architecture and allowed the city's intoxicating mix of beauty and decrepitude to seep into the silver-gelatin prints she was developing.\u003C\u002Fp\u003E\n\u003Cp\u003EOne project, Fish Calendar – 6 Days (1977-78), is a series of self-portraits-cum-still lives in which Woodman poses with what she described in her journal as \"the most beautiful lemons clothed in soft green mould\" and some sinister-looking, eel-like creatures she bought in a local market. One image shows her standing with only her legs in view, dangling a fish between her thighs so it merges with the curved stripes of her tights (the tights reappear in another picture taken around this time: Woodman had a great eye for clothes). \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b903dz"],"imageAlignment":"centre","imageOrientation":"square","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn another picture, she lies naked on the floor beneath the table, with a fish draped over her crotch and another pointing towards it. Powerfully strange, these images are also oddly erotic; somehow both suggestive, withholding and just-about funny (the stench was so bad, Woodman admitted, that she was forced to work in the basement). The strong sense is of a young woman fascinated by the shape of bodies in space, and the power of her own in particular. \"After that time in Italy during college,\" says Charles Woodman, \"she was already a professional artist.\"\u003C\u002Fp\u003E\n\u003Cp\u003EIndeed, while Woodman's self-portraits look spontaneous, as if the artist is inviting us to witness her at her most intimate and vulnerable, in fact they were carefully choreographed and staged, argues curator Katarina Jenric. \"She really went into her picture-making in a very deliberate way,\" Jenric suggests. \"Each contact sheet that I've come across has at least a half a dozen frames trying to work out what the right composition should be for a particular photograph. Nothing is one-off. You really get the sense of her working through an idea.\" \u003C\u002Fp\u003E\n\u003Cp\u003EIn a note printed in the new catalogue, Woodman herself described her process as an opening-up of possibilities: \"I feel that photographs can either document and record reality or they can offer images as an alternative to everyday life… places for the viewer to dream in.\" Dreamlike as so many of her images are, none of them came about by accident. Like a great theatre or film director, the artist knew exactly what she was doing, creating just the right balance between control and improvisational freedom. \u003C\u002Fp\u003E\n\u003Cp\u003ETwo untitled images, taken in Rome somewhere between 1977 and 78, offer a tantalising window into those possibilities. Both show her in what appears to be another artfully abandoned space, all distressed plaster and damp-stained walls. In one, Woodman, wearing a long black dress, holds herself by her long hair as if her whole body is dangling from it – a figure of mourning, perhaps, or entrapment. The next picture contains exactly the same elements (the two frames were likely shot only a few minutes apart) but couldn't be more different. This time she's mid-jump, a blur, with the hair sailing above her. Look how high I can go, she seems to say; look how free I am.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b902l5"],"imageAlignment":"centre","imageOrientation":"square","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHow exactly she shot these images, apparently working largely alone, remains mysterious. Simply from a technical point of view, Jenric points out, Woodman was a master of her photographic craft: able to manipulate illumination, shadow, composition and timing with uncanny precision. Through her studies with the respected \u003Ca href=\"https:\u002F\u002Fwww.icp.org\u002Fbrowse\u002Farchive\u002Fconstituents\u002Faaron-siskind?all\u002Fall\u002Fall\u002Fall\u002F0\" target=\"_blank\"\u003Ephotographer Aaron Siskind\u003C\u002Fa\u003E, she also had the darkroom skills to conjure remarkable visual effects from her negatives. \"It's interesting to see how she really worked the images,\" Jenric says.\u003C\u002Fp\u003E\n\u003Cp\u003ESomehow it's hard not to think of \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20170315-why-moody-teenagers-love-emily-dickinson\"\u003EEmily Dickinson\u003C\u002Fa\u003E – stories half-told or images not-quite-revealed, the same sophistication and deliberation, the same sense that we're being invited in but also kept out of reach. Whatever Woodman's photographs evoke, in other words, it's not remotely straightforward – and if we take them at face value, we miss all the dedication and intention and fierce skill that went into creating them. \u003C\u002Fp\u003E\n\u003Cp\u003ETheir sly humour, too. By all accounts, Woodman was a charismatic and vivacious presence, and that makes itself felt in the pictures too: in one famous image, three young women (again nude) stand in a room, holding up prints of Woodman's face that block their own. The title Woodman \u003Ca href=\"https:\u002F\u002Fwww.artsy.net\u002Fartwork\u002Ffrancesca-woodman-about-being-my-model-providence-rhode-island\" target=\"_blank\"\u003Egives the photograph is About Being My Model\u003C\u002Fa\u003E. Are any of these women the artist herself? Does it even matter, she seems to ask, playfully. Why are you all so interested? \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EShadows and illusions\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWhere is her death in all this, we might ask. Is it visible at all? While Woodman had been experiencing periods of depression after returning to the US and moving to New York – not many galleries were interested in photography and she felt out of place in the art world – she continued to make work, often more abstract, and embarked on a \u003Ca href=\"https:\u002F\u002Fwww.artsy.net\u002Fartwork\u002Ffrancesca-woodman-some-disordered-interior-geometries#:~:text=Over%20the%20course%20of%20her,or%20partially%20hidden%20behind%20furniture.\" target=\"_blank\"\u003Eproject collaging her own images with an Italian school textbook\u003C\u002Fa\u003E (such is the craze for Woodman that copies now fetch $10,000-plus).\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-12"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"I was inventing a language for people to see the everyday things that I also see, and show them something different – Francesca Woodman","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EMcClure argues that it's impossible to know if there's a connection between the elusive scenarios or roles she performed on film and what was happening for her emotionally – and equally unlikely there was just one truth to what was going on. \"It's just kind of an impossible question to know what really happened,\" she says. \"And I worry that having a conversation about [her death] takes away from the conversation being about her work.\"\u003C\u002Fp\u003E\n\u003Cp\u003ECharles Woodman agrees that it's wrong to interpret her images as confessional testaments, still less as suicide notes: \"It's not the lens I see it through,\" he says.\u003C\u002Fp\u003E\n\u003Cp\u003EThis feels important: in a documentary made decades later, a schoolfriend recalled that, in the weeks before Woodman's death, she stopped making pictures altogether – something she interpreted as a warning sign that, far from feeding Woodman's creativity, her depression was eating away at it.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-14"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b90412"],"imageAlignment":"centre","imageOrientation":"square","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHer late images, taken between 1979 and 1980, show her moving in new directions, trying out colour film and creating a massive semi-abstract tableau, Blueprint for a Temple, in which she posed friends as architectural caryatids (column-like female forms), supporting a building she created from stitched-together images of a New York apartment.\u003C\u002Fp\u003E\n\u003Cp\u003EIt's tempting to think about which other kinds of image-making she would have become absorbed by; in which new directions she might have gone. But then, in a life lived at frantic high speed, perhaps Woodman had already achieved what she wanted to achieve. In the final journal entry written before her death, she refers to herself and her work in the past tense: \"I was inventing a language for people to see the everyday things that I also see,\" she writes, \"and show them something different.\"\u003C\u002Fp\u003E\n\u003Cp\u003EFor all the riddles and fugitive qualities of her work, she surely did that. Even if she were with us today, we would still be looking at and puzzling over these pictures. One of Francesca Woodman's greatest gifts is that she sensed the ultimate fact about photography: much as we may wish it to show reality, telling us things straight, of course it doesn't. As Woodman knew better than almost any artist, photography is a medium of shadow as well as light, of delusion and illusion and disappearance. We cannot know what sits outside the frame any more than we can know what happens before or after the shutter snaps open then shut.\u003C\u002Fp\u003E\n\u003Cp\u003E\"Photography supposedly captures the truth, and we all know that that's not possible,\" McClure says. \"It only fixes a moment.\"\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAll images by Francesca Woodman\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ECourtesy of Marian Goodman Gallery © Woodman Family Foundation \u002F Artists Rights Society (ARS), New York\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.mariangoodman.com\u002Fexhibitions\u002Ffrancesca-woodman-alternate-stories\u002F\"\u003EFrancesca Woodman: Alternate Stories\u003C\u002Fa\u003E is at Marian Goodman gallery in New York until 23 December. \u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius-16"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2021-12-13T00:30:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Francesca Woodman: The eerie images of a teenage genius","headlineShort":"The eerie images of a teenage genius","image":["p0b9xt8g"],"imageAlignment":"centre","imageAltText":"Francesca Woodman","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fphotography"],"summaryLong":"Forty years after her death, a new exhibition celebrates the work of Francesca Woodman, whose strange images remain fascinating riddles, writes Andrew Dickson.","summaryShort":"How Francesca Woodman's work challenges toxic stereotypes","tag":["tag\u002Fphotography"],"textToSpeech":false,"creationDateTime":"2021-12-13T00:30:17.619817Z","entity":"article","guid":"6917ae23-272a-4569-8fb5-04f4af7b7d6e","id":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius","modifiedDateTime":"2022-02-24T14:08:24.643766Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20211209-francesca-woodman-the-eerie-images-of-a-teenage-genius","cacheLastUpdated":1647023516182},"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis","_id":"621e43f445ceed2bcd1260e4","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fdiane-cole"],"bodyIntro":"The journeys of looted artworks have powerful stories that are being explored in a new exhibition, writes Diane Cole.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWithin the long history of art resides the nearly-as-long history of looted art. We are dazzled by these treasures from faraway lands and ancient eras, even as we remain mostly blind to their provenance. Usually left unmentioned is their means of acquisition – all too often, brutally uprooted from their original homes and owners as the spoils of war, colonial conquest, or at the dictate of despots.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20180413-the-art-hidden-from-nazi-bombs\"\u003EThe art hidden from Nazi bombs\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20171212-the-nazi-art-hoard-that-shocked-the-world\"\u003EThe Nazi art hoard that shocked the world\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20140527-recovering-what-the-nazis-stole\"\u003ERecovering what the Nazis stole\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EUntil now. We're reading more than ever about international disputes over ownership and restitution, including allegations this week that Switzerland's largest art museum might be displaying \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fworld-europe-59320514\"\u003Eup to 90 works with problematic provenances\u003C\u002Fa\u003E. Also causing controversy recently are stories focusing on the origins – and the fate – of the Benin Bronzes, at least some of which are in the process of finding their way back to Nigeria and Democratic Republic of Congo from the many countries and museums to which their colonial rulers dispersed them, including Belgium, Germany, the British Museum and New York's Metropolitan Museum.\u003C\u002Fp\u003E\n\u003Cp\u003ESuch histories of theft and rescue are made more than real in a powerful new exhibition at New York's Jewish Museum, \u003Ca href=\"https:\u002F\u002Fthejewishmuseum.org\u002Findex.php\u002Fexhibitions\u002Fafterlives-recovering-the-lost-stories-of-looted-art\"\u003EAfterlives: Recovering the Lost Stories of Looted Art\u003C\u002Fa\u003E. And they are presented through treasures both artistic and cultural.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b5xm1k"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn the opening galleries, we view one extraordinary canvas after another by Pierre Bonnard, Marc Chagall, Paul Cézanne, Henri Matisse, Camille Pissarro and other great European modernist painters, each with a story to tell of pillage by the Nazi regime. Many of these works were seized from collectors and artists who happened to be Jewish; others the Nazis confiscated and slated for oblivion because they did not conform to Hitler's narrow definition of what Aryan art should be – that is, representational and wholesome in their subject matter, as opposed to the often abstract, expressionistic compositions that characterised so many modernist works, which they labelled as \"degenerate\".\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"These objects are the material survivors of the Jewish communities of Europe, each one with a distinct story, an \"afterlife\" of survival, to reveal","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThen there are the beautiful arrays of delicately crafted ritual silver objects that once graced the homes and synagogues of the Jews of Europe. They can and should be admired for their craft. But in the context of this show, they also speak even more powerfully to their rough seizure from their original owners who once wielded them to welcome the Sabbath, celebrate the holidays, and observe the milestones of life and death, all according to Jewish tradition. You cannot walk through these galleries without thinking of the sense of despoliation experienced by so many people of other cultures throughout history. The emotional pull is visceral.\u003C\u002Fp\u003E\n\u003Cp\u003EThese objects are the material survivors of the Jewish communities of Europe, each one with a distinct story, an \"afterlife\" of survival, to reveal. Yet taken as a whole, these tales also adhere to what we might think of as a new kind of archetypal journey, one that follows the fate of each work, from the original uprooting of cultural theft to displacement to eventual rescue and restitution.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b696z7"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe divergent roads to such an afterlife are evident from the moment you enter the exhibition. You're greeted, first, by the gorgeous canvas by the German Expressionist artist, Franz Marc. The Large Blue Horses, painted in 1911, depicts three vibrantly blue horses, clustered sensuously together in the foreground, with the hillside behind them washed in splashes of blue, red and green. Although Marc died fighting for Germany in World War One, Hitler banned his work.\u003C\u002Fp\u003E\n\u003Cp\u003EBut it escaped the Reich's reach because in 1938 its German owner sent it to London, to be included in an \"anti-Hitler\" show, and from there it travelled as part of another exhibition, 20th Century Banned German Art, to the United States, where an American buyer purchased it for a collection that is now part of the Walker Art Center in Minneapolis. It seems thematically fitting that the painting appears here, on loan once again.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b5v9vb"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ENear that canvas is a lush, evocative Max Pechstein painting from 1912, Nudes in a Landscape, an exuberant canvas that just this summer was returned by the French government to the heirs of the German-born Jewish banker and art collector Hugo Simon. Its murky journey is emblematic of the often long and twisty road travelled by looted art to eventual restitution.\u003C\u002Fp\u003E\n\u003Cp\u003ESimon's journey, too, was precarious. He fled Berlin for Paris when Hitler came to power in 1933, and after France fell to Germany in 1940, he escaped once more, this time to Brazil. But the painting was left behind in Paris and seized by the Nazis. It did not turn up again until 1966, found in storage at the Palais de Tokyo in Paris – yet how it landed there remains a mystery. From 1998 on, it was housed at the modern art museum in Nancy, France.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b5xlxf"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAnother route to restitution is exemplified in an adjacent canvas. The green, yellow, white Impressionist-style 1892 painting by Pierre Bonnard, Still Life with Guelder Roses, was one of 2,000 pieces stolen by the Nazis from a single collector, David David-Weill, the French-American philanthropist who had headed the banking house Lazard Frères. This canvas was returned to him in 1946, shortly after it was recovered by Allied forces among the many works hidden by the Nazis in an Austrian salt mine.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EDifficult journeys\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe relative smoothness of that recovery makes restitution sound easy, right? But take a few steps into the next room, and yet another work in the exhibition once again emphasises the ongoing, perhaps unending work of restitution, in the form of a 1939 Cubist geometric canvas by the German Jewish artist Fédor Löwenstein, that is only now in the process of being returned to heirs of its original owners by the French government.\u003C\u002Fp\u003E\n\u003Cp\u003EIts story also brings home the randomness of both survival and restitution. After its seizure, the work had been relegated to a storage space at the Jeu de Paume Gallery in Paris that was known as \"The Room of the Martyrs\". Here, German officers could select and walk off with stolen masterpieces of their choice; those that remained were often deemed degenerate and slated for destruction. But this one slipped through the cracks and survived, possibly with the help of Rose Valland, the art historian who secretly kept track of the approximately 20,000 works brought there, records that played a key role, post-war, in recovering much of the stolen art.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b5xkrm"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EYet despite her efforts, Valland could not save them all, alas. A black and white photo of the room, probably from 1942, shows paintings by André Derain and Claude Monet, among others, that did not turn up post-war and most likely were destroyed. It's impossible not to turn from this photo with a sense of gratitude for the presence of the glorious works on display here by Paul Cézanne, Pablo Picasso, Henri Matisse, and Marc Chagall, among others. \u003C\u002Fp\u003E\n\u003Cp\u003ENor are viewers allowed to ignore the lives and fates of the families to whom all these material possessions at one time belonged. A series of old family photos is lined up on what seems like a living room mantlepiece, intimating what a normal middle-class Jewish family life looked like before the Nazis forced them out. And then, following the Nazi timeline of horror, comes a collection of portraits and drawings made in secret, then hidden, by artists interred in Nazi concentration camps.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b696pl"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPerhaps it's no wonder that walking through the galleries, I often felt immersed in a world turned topsy-turvy by theft, never more so than as I gazed at the vitrines of Jewish ritual objects – Kiddush cups, Sabbath candle sticks, Torah pointers, and other holy objects – lined up alongside each other as if for a massive warehouse sale, with no community, perhaps no person, alive to claim them. That is, until the surviving Jewish communities outside of Europe – including the Jewish Museum in New York – stepped in after the war to help rescue the many orphaned objects. All the ceremonial works on display in this exhibition found their own afterlives as part of the Museum's permanent collection, a part of that massive effort to salvage the remains of European Jewish culture.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ELooking forward\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThat the legacy of stolen art and cultural objects also leaves ghostly afterlives in subsequent generations is the subject of the final section of the exhibition: new works commissioned by four young contemporary artists living in Israel, Berlin, and Brooklyn: Maria Eichhorn, Hadar Gad, Dor Guez, and Lisa Oppenheim.\u003C\u002Fp\u003E\n\u003Cp\u003EEach of these artists approaches this history from a different perspective. Conceptual artist Eichhorn immerses us in the very work of recovering, locating, and returning looted objects. She does so by surrounding us with actual cases of archival papers, ledgers, reports, books, and on and on, all needed to verify, certify, analyse, authenticate each artifact, each item. Further intensifying the sense of being thrust into the work itself is the audio backdrop of an ongoing, non-stop recording of the voice of philosopher Hannah Arendt. She is reading various memos she wrote in her capacity as a director of the agency tasked with the sad but urgent goal of sorting through the massive crates of materials that were recovered.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-14"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b5xtl0"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn his installation, Dor Guez, the son of a Palestinian mother and a North African Jewish father, creates a museum-style display of objects, documents and prints to bring to life again the multiplicity of losses of his family's Judeo, Tunisian, and Arabic languages and culture. Hadar Gad's powerful large-scale, dream-like collage paintings are based on historical photographs of the aftermath of the destruction of Jewish property by Nazi soldiers. Finally, Lisa Oppenheim bases her series of mysteriously clouded photo-collages on the only remaining image of a still-life painting – by the Franco-Flemish painter Jean-Baptiste Monnoyer – that disappeared after its confiscation by the Nazis from a Jewish household in Paris.\u003C\u002Fp\u003E\n\u003Cp\u003EThese, then, are the afterlives that remain. The emotional impact of the exhibition is overwhelming: joy and gratitude at the rescue of so many exquisite artworks; grief at the losses endured by the destroyed Jewish communities of Europe; and finally comfort in the knowledge that their stories do endure. There might even be a glimmer of hope that these narratives could also bring some perspective in resolving the many ongoing restitution cases around the world. In the meantime, the archetypal journeys of the world's looted artworks continue.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fthejewishmuseum.org\u002Findex.php\u002Fexhibitions\u002Fafterlives-recovering-the-lost-stories-of-looted-art\"\u003EAfterlives: Recovering the Lost Stories of Looted Art\u003C\u002Fa\u003E is at New York's Jewish Museum until 9 January, 2022.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis-16"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2021-11-25T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The masterpieces stolen by the Nazis","headlineShort":"The masterpieces stolen by the Nazis","image":["p0b696z7"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fart-history"],"summaryLong":"The journeys of looted artworks have powerful stories that are being explored in a new exhibition, writes Diane Cole.","summaryShort":"What the journeys of looted artworks can tell us","tag":["tag\u002Fart-history"],"textToSpeech":false,"creationDateTime":"2021-11-25T00:30:32.648235Z","entity":"article","guid":"94609fcd-b452-4567-981d-40aabbfa12ef","id":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis","modifiedDateTime":"2022-02-24T14:07:26.770498Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20211123-the-masterpieces-stolen-by-the-nazis","cacheLastUpdated":1647023516183},"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege","_id":"621e43ed45ceed28e6785261","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fprecious-adesina"],"bodyIntro":"The painter's satirical work has always blazed a trail – reclaiming cultural histories and identities. Precious Adesina talks to the artist – and explores an extraordinary career.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPainter Lubaina Himid says her work is not about making something pretty. \"I don't expect you to attend a show of mine and go: 'It's very beautiful'. That's not what it is,\" she tells BBC Culture over a video call. Instead, her paintings are designed to make people think about their relationship to history, and what gets left out of textbooks.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210706-kent-monkmans-the-scream-images-that-define-atrocities\"\u003EThe images that have defined atrocities\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210709-paula-rego-is-this-britains-greatest-living-artist\"\u003EThe artist who helped change the world\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began\"\u003EArt exploring the truth about our planet\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EHimid is among the most influential black British artists alive today, and has been creating art for more than four decades. \"Himid's work has encouraged many to take risks – to re-think the places we inhabit, and incite the changes we want to see,\" says Amrita Dhallu, co-curator of Himid's \u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fwhats-on\u002Ftate-modern\u002Fexhibition\u002Flubaina-himid\"\u003Eretrospective at the Tate Modern\u003C\u002Fa\u003E, which opens this week. \"She invites us to consider the kinds of spaces that inspire our creativity, and the materials we need to imagine and make freely. Works in the exhibition, which include paintings on canvas, furniture and textiles, are brought to life with sound and poetry.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b51vqb"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHimid was born in Zanzibar in 1954, and moved to England before her first birthday. As an adult, she studied theatre design at Wimbledon College of Art, and obtained a masters degree in cultural history at the Royal College of Art. But despite her studies, her art has predominantly taken a different turn. \"I became more interested in drumming up real life [than making sets for plays],\" she says.\u003C\u002Fp\u003E\n\u003Cp\u003EIn 2010, she was appointed MBE for her services to black women's art; in 2017, she won the Turner Prize; and, in 2018, she was made a CBE. Her emotive artworks have also been purchased by high-profile people, including Italian art collector Valeria Napoleone, who has Her Prints on Me (2017) hanging in her home, as seen in \u003Ca href=\"https:\u002F\u002Fwww.wmagazine.com\u002Fculture\u002Fvaleria-napoleone-art-collection-interview\"\u003EW Magazine\u003C\u002Fa\u003E. Curator Zoé Whitley and artist Joy Labinjo have both cited her as a source of inspiration. \"A key lesson I learned is one that Himid taught me early on: Listen to artists,\" \u003Ca href=\"https:\u002F\u002Fwww.artsy.net\u002Farticle\u002Fartsy-editorial-zoe-whitley-helping-lead-transformation-arts-uk\"\u003EWhitley told Artsy\u003C\u002Fa\u003E. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"I use humour – the kind of vicious British humour found in caricatures – Lubaina Himid","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"In the beginning, I was trying to fill in some of those gaps in history, and talk about individuals who had made cultural contributions in Europe,\" Himid says of her early work, noting that she also looked at stories about Europe's economy. The artist is soft spoken and measured in her responses, her hair scraped back in her signature loose bun. \"I made a series of paintings around a French ship called the Rodeur, which sailed with captured Africans from west Africa to the Caribbean.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b51wv5"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOn the ship, an untreatable eye disease spread rapidly through the enslaved people and the crew, and the \"cargo\" was drowned so that the traders could claim insurance. \"Rather than paint hundreds of people in great distress and dying, I wanted to create something that conveyed a sense of absolute inability to understand what was happening.\"\u003C\u002Fp\u003E\n\u003Cp\u003EHimid's painting Le Rodeur: Exchange (2016) depicts a group of well-dressed black individuals gathered in a contemporary architectural space. One figure has the head of a bird, while another holds a small piece of patterned fabric. The Tate exhibition's co-curator Michael Wellen writes in the catalogue: \"[The bird-like woman] rests her hand on the shoulder of a seated man, who seems lost in thought – yet her presence is not necessarily reassuring or protective. Her alert yellow eyes look at us.\".\u003C\u002Fp\u003E\n\u003Cp\u003EWellen also points out that the tailored jacket of one of the other characters caused him discomfort. \"On her jacket, a small eye – like a button – stares outwards,\" he writes. \"The detail of the eye on the woman's jacket makes me want to back away, but it's too late, I'm already in the scene, sensing the tension between the figures and wondering about my own relation to them.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe big picture\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EHimid considers her oeuvre activist art. \"There's something that I'm trying to provoke you into being part of changing,\" she says. She was one of the founding artists of the UK's Black Arts Movement in the 1980s. Also known as BLK Art Group, the collective were all of African-Caribbean descent. They exhibited conceptual art across the country that critiqued the lack of diversity in the art world and commented on the social politics of the time they lived in. Class, race and gender played an integral part in Himid's work both then and today.  \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b51xpc"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHimid often uses 18th-and-19th-Century caricature as a tool to get her message across. Her paintings reference satirists such as \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist\"\u003EWilliam Hogarth\u003C\u002Fa\u003E and Thomas Rowlandson who regularly featured people of colour as a way to exemplify the wealth of the white Britons in their paintings. \"I want to make work that you don't feel anxious getting close to,\" she says, explaining that her work doesn't require an exhaustive amount of knowledge to understand. Instead, she uses different techniques to spark a conversation. \"I use colour, I use text, I use pattern, I use humour – the kind of vicious British humour found in caricatures.\"\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Ground-breaking painting is about creating something that leaves a potent message with the viewer","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOne of the pivotal pieces of work Himid produced in the 1980s was the installation A Fashionable Marriage (1984-6), titled after \u003Ca href=\"https:\u002F\u002Fwww.nationalgallery.org.uk\u002Fpaintings\u002Fwilliam-hogarth-marriage-a-la-mode-4-the-toilette\"\u003EHogarth's Marriage A-la-Mode: 4, The Toilette,\u003C\u002Fa\u003E (1743)\u003Cem\u003E.\u003C\u002Fem\u003E Hogarth's painting mocked the cultural practices of the 18th-Century elite. Similarly, Himid's Marriage, which features 11 life-size cutouts, remarks on racism and sexism in the art world and also the relationship between the UK and the US at the time. In Himid's work, Margaret Thatcher and Ronald Reagan take the place of the lovers in Hogarth's original painting and the two black figures, almost insignificant in the 18th-Century artwork, have become key characters in Himid's piece. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b51xf3"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut, it was her painted cut-outs made two decades later that won her the Turner Prize, making her the oldest person – and first black woman – to win the award. The installation Naming the Money (2004) showcased 100 life-sized cut-out figures. The people represent enslaved Africans in the royal courts of 18th-Century Europe. Himid gives each cut-out a name, identity and profession, such as drummer, dancer or map maker.\u003C\u002Fp\u003E\n\u003Cp\u003EAdditionally, an accompanying soundtrack gives voices to the figures, who speak of their identities before and after being forcibly taken to Europe. Through this work, Himid offers a history that highlights the creative contributions of people of colour in society at the time, beyond their role as servants.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b562xk"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWorking with the cut-outs allows Himid to draw on different parts of her artistic knowledge. \"It brings together all those things that I know about audience and drama,\" she says. The cut-outs are often placed in a manner that exposes the raw wooden back of the painted characters to spectators. \"I'm very interested in you knowing how I did it, you being able to see around the back of it,\" Himid adds, further emphasising that her work isn't about beauty. As Dhallu puts it: \"This expanded way of storytelling places the audience in the centre of the action, encouraging us to build new futures and think through new ways of moving through landscape, life and conflict.\"\u003C\u002Fp\u003E\n\u003Cp\u003EInstead of creating art that leaves you ogling at its magnificence, what Himid highlights is that ground-breaking painting is about creating something that leaves a potent message with the viewer – and might just make the world a better and more knowledgeable place.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fwhats-on\u002Ftate-modern\u002Fexhibition\u002Flubaina-himid\"\u003ELubaina Himid\u003C\u002Fa\u003E is at The Tate Modern from 25 November to 3 July 2022\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege-14"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2021-11-23T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Lubaina Himid: The artist who skewers white privilege","headlineShort":"The artist who skewers white privilege","image":["p0b51w1v"],"imageAlignment":"centre","imageAltText":"The Operating Table by Himid","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"The Operating Table by Himid","promoImage":["p0b51w1v"],"relatedStories":null,"relatedTag":["tag\u002Fvisual-pioneers"],"summaryLong":"The painter's satirical work has always blazed a trail – reclaiming cultural histories and identities. Precious Adesina talks to the artist – and explores an extraordinary career.","summaryShort":"Lubaina Himid's satirical work has blazed a trail and reclaimed history","tag":["tag\u002Fcontemporary-art","tag\u002Fvisual-pioneers"],"textToSpeech":false,"creationDateTime":"2021-11-23T00:00:31.466643Z","entity":"article","guid":"7af917e1-f9c4-49ff-87df-99f568fdcc1b","id":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege","modifiedDateTime":"2022-02-24T14:07:11.364506Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20211119-lubaina-himid-the-artist-who-skewers-white-privilege","cacheLastUpdated":1647023516184},"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse","_id":"621e43f345ceed2da83ea928","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fdaisy-dunn"],"bodyIntro":"The artist Oskar Kokoschka reworked ancient myths to express his fears for humanity. Daisy Dunn explores the meaning of the remarkable Prometheus Triptych – and how it resonates today.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOskar Kokoschka was not only a beautiful-sounding name, but a household name, at least until the mid-20th Century. Born in Pöchlarn, near Vienna, in 1886, he achieved fame as an Expressionist painter, printmaker and playwright, with a sharp eye for dark and unsettling stories. Once as well-known as \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20150710-your-nine-favourite-works-by-gustav-klimt\"\u003EGustav Klimt\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20150612-the-brilliance-of-egon-schiele\"\u003EEgon Schiele\u003C\u002Fa\u003E, whom he worked alongside in his younger years, Kokoschka has since fallen into relative obscurity – at least until now.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us\"\u003EWhy magic's secret symbols fascinate us\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary\"\u003EExposing the evil in the ordinary\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210709-paula-rego-is-this-britains-greatest-living-artist\"\u003EPaintings of 'rage, rebellion and pain'\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThis month, the re-opening of the \u003Ca href=\"https:\u002F\u002Fcourtauld.ac.uk\u002Fgallery\u002Fabout-the-courtauld-gallery\u002F\"\u003ECourtauld Gallery\u003C\u002Fa\u003E in London after a major three-year restoration sees one of the largest and most extraordinary of Kokoschka's works go back on display following an even longer hiatus. The Prometheus Saga or \u003Ca href=\"https:\u002F\u002Fcourtauld.ac.uk\u002Fwhats-on\u002Foskar-kokoschka-the-myth-of-prometheus\u002F\"\u003EPrometheus Triptych\u003C\u002Fa\u003E consists of three canvases spanning more than eight metres in total filled with colourful but terrifying scenes of the apocalypse and eternal punishment, inspired by Biblical passages and Greek myth. Confined to storage for more than a decade, the paintings have now been given pride of place in the newly refurbished 20th-Century gallery within the building. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b3n77r"],"imageAlignment":"centre","imageAltText":"Prometheus triptych","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ENamed after the industrialist and collector Samuel Courtauld, whose artworks formed the basis of the collection, the Courtauld Gallery is most renowned for its Impressionist and Post-Impressionist paintings – including those of Monet, Manet, Cézanne and Renoir – as well as its artworks by Rubens and earlier medieval and Renaissance works. Following the gallery refit, however, many less familiar works, especially those dating to the 20th Century, are being given a new lease of life. Kokoschka's are some of the most arresting among them.\u003C\u002Fp\u003E\n\u003Cp\u003EThe largest of Kokoschka's three panels originally hung on the ceiling of a London townhouse. An Anglo-Austrian count and art collector named Antoine Seilern commissioned the triptych in 1950, and is thought to have hung the other two canvases on the walls beneath. Startling as it must have been to stroll into Seilern's hall on Princes Gate, Knightsbridge, and gaze up at the apocalypse unravelling above, the three paintings are really intended to be viewed together on the same plane. \"Considerations of conservation mean we can't put the paintings on the ceiling, but we are hanging them high on the walls and tilted forward at a dramatic angle, so it's very immersive,\" says Dr Barnaby Wright, deputy head of the Courtauld Gallery. \"We removed them from their frames so there is less distance between the canvases. They are designed to be seen in continuum.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b3mz95"],"imageAlignment":"centre","imageAltText":"Prometheus triptych","imageOrientation":"square","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EKokoschka wrote of introducing to the triptych \"a fourth dimension of movement\", so that viewers could follow the story he was painting. His left-side canvas shows Hades, god of the Underworld, releasing Persephone, the young girl he abducted and tricked into eating some pomegranate seeds so that she would have to remain with him for part of each year. Kokoschka spookily painted his own portrait on to Hades' body, while the scarier face of the Gorgon Medusa peeps out from the bottom of the painting. Persephone's mother, Demeter, is shown forming an arch for Persephone to pass under into the upper world to welcome in spring. However it will not be long before the seasons change and Persephone is forced to return to the shadowy lair of the dead.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"In the aftermath of World War Two, he recognised that the future of the world was still uncertain","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn the middle canvas, horsemen of the Apocalypse descend from a lightning-struck sky upon an exquisite sunny hillside of people going about their lives. One woman is playing music. Another is bathing. Several are collecting water. The horsemen catch them unawares, the mortals at the top of the hill standing before a crucifix in shock, arms outspread or hands met in prayer, while death arrives to shake them from their slumber. We are left in little doubt that the still serenity of the middle sky and waterfall lying between them is about to be crushed.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EApocalyptic vision\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EFinally, the canvas on the right depicts Prometheus, the titan who stole fire from the gods, and gave it to men so that they could fend for themselves, for which he was punished by being tied to a rock on the Caucasus and having his liver pecked by Zeus’ eagle. The organ always grew back to be pecked at some more. According to one ancient source he endured this ordeal for 30,000 years.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b3mzth"],"imageAlignment":"centre","imageAltText":"Prometheus triptych","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn antiquity, Prometheus had sometimes been presented as a champion of mankind, whose quest to steal fire was driven by a desire to make them self-sufficient. But a Greek farmer-poet named Hesiod, who lived in the seventh Century BC, around the time Homer's epics were completed, characterised Prometheus as a mischievous figure, who attempted to trick Zeus by apportioning him bones wrapped in fat, while he kept the meat for himself. Kokoschka, who loved Greek literature and collected antique coins, viewed Prometheus entirely negatively as a symbol of intellectual arrogance. Prometheus was the pivotal figure in his triptych because he represented everything that Kokoschka believed was wrong with the world in his day. The thief's miserable punishment highlighted for him the dangers of an \"overweening nature\" and of the hubristic desire to overstep the natural boundaries of humanity and challenge the gods.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The nuclear threat of the Cold War made real the prospect of an apocalypse","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPrometheus spoke to Kokoschka particularly of the dangers mankind was bringing upon itself in the wake of World War Two by developing ever more sophisticated weapons. The nuclear threat of the Cold War made real the prospect of an apocalypse. After Prometheus was chained to the rock, the Golden Age – in which humans were said to have lived in regular communication with the gods, and have everything they needed without having to work for it – was over. The harsh realities of poverty, sickness and toil subsequently became man's lot. The gods were no longer at the sides of mortals. Kokoschka may have noticed that the coming of \"evil\", of which ancient poets spoke, was \u003Cem\u003Ekakos \u003C\u002Fem\u003Ein Greek, and thus not far from his own name. In casting himself as Hades in the painting, he acknowledged that it was in his hands to keep hope down, but also to put it out into the world. Persephone was free to go whereas Prometheus was not.\u003C\u002Fp\u003E\n\u003Cp\u003EAs an artist, Kokoschka felt a moral responsibility to issue a warning through these paintings not to get tied up in matters over which we are unable to maintain full control. Anxieties of the Cold War era compelled him to caution against playing with fire. Experience had taught him that more than one rebel's fingers  would be burned. Kokoschka had himself sustained severe head and lung injuries while fighting on the Eastern Front in World War One. Decades on, in the aftermath of World War Two, he recognised that the future of the world was still uncertain, and the cultural landscape under threat of being bulldozed by dangerous ideologies.\u003C\u002Fp\u003E\n\u003Cp\u003EHe wrote in an essay about his triptych of the need he felt to strengthen ties to the past \"lest we reach the point at which every individual in his intellectual arrogance makes it his business to push the engines of destruction to the limit…\" He aimed his Prometheus Saga at young people, in particular, in the hope that they would heed its lessons and safeguard \"Europe's spiritual heritage\". It was partly towards this aim that he utilised classical myth and adopted such a traditional format. Triptychs were historically employed for altarpieces in churches. Kokoschka considered it essential that people looked backwards as well as forwards in order to avoid being carried away by the often overblown and sometimes sinister promises of new technology. His existential fears were inherent to Viennese Expressionism, which developed around 1910, but also to the Cold War period.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b3mz13"],"imageAlignment":"centre","imageOrientation":"square","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBoth Klimt and Schiele lost their lives during the \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200514-how-art-has-depicted-plagues\"\u003ESpanish Flu epidemic\u003C\u002Fa\u003E which swept through Europe at the end of the World War One. Although Kokoschka escaped, he carried his war wounds with him around Europe through the 1920s, until financial troubles forced him to return to Vienna in 1931. He then moved to Prague and fell in love with his future wife, Olga, before finding himself classified a \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20140306-the-art-the-nazis-hated\"\u003E\"degenerate\"\u003C\u002Fa\u003E artist under the Nazi regime, and fleeing to England. He had suffered enough uncertainty in his own life to embrace the opportunity Count Seilern gave him to commit his manifesto for the future to three canvases saturated in warnings – and the faint prospect of hope – from the ancient past. As Dr Barnaby Wright says: \"Removing the frames makes it seem like the canvases were painted yesterday. Kokoschka really does speak to a contemporary way of working\". In theme, too, his paintings could hardly appear more urgent. Their full weight will hover over viewers as they walk through the gallery this month. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EOskar Kokoschka's Prometheus Triptych is on display at the \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fcourtauld.ac.uk\u002Fwhats-on\u002Foskar-kokoschka-the-myth-of-prometheus\u002F\"\u003E\u003Cem\u003EKatja and Nicolai Tangen 20th\u003C\u002Fem\u003E\u003Cem\u003E Century Gallery\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E at the Courtauld, London, which reopens on 19 November.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EDaisy Dunn is the author of \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fheadofzeus.com\u002Fbooks\u002F9781788546744\"\u003E\u003Cem\u003EOf Gods and Men: 100 Stories from Ancient Greece and Rome\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E \u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse-12"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2021-11-15T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The overlooked masterpiece warning of a Cold War apocalypse","headlineShort":"An overlooked masterpiece re-discovered","image":["p0b3mxth"],"imageAlignment":"centre","imageAltText":"Prometheus Triptych","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"Prometheus Triptych","promoImage":["p0b3mxth"],"relatedStories":null,"relatedTag":["tag\u002Fart-history"],"summaryLong":"The artist Oskar Kokoschka reworked ancient myths to express his fears for humanity. Daisy Dunn explores the meaning of the remarkable Prometheus Triptych – and how it resonates today.","summaryShort":"How Oskar Kokoschka reworked ancient myths to express his fears for humanity","tag":["tag\u002Fart-history"],"textToSpeech":false,"creationDateTime":"2021-11-15T00:00:08.555072Z","entity":"article","guid":"abe85231-e5e8-4215-8b47-f32ba2eea650","id":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse","modifiedDateTime":"2022-02-24T14:06:43.381917Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20211112-the-overlooked-masterpiece-warning-of-a-cold-war-apocalypse","cacheLastUpdated":1647023516186},"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us","_id":"621e43f145ceed2bd36eb65c","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fclare-thorp"],"bodyIntro":"From emoji spells to WitchTok, the mysterious, 600-year-old emblems of tarot and spell books are still resonating in the 21st Century. Clare Thorp explores the intriguing world of art, symbolism and magic.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Body\"\u003EEarlier this summer, a collection of Sylvia Plath's personal items went up for sale at Sotheby's. It included intimate love letters, recipe cards, a rolling pin, family photo albums and her and Ted Hughes's gold wedding bands. The rings sold for a respectable $38,000 (£28,000) – but this was mere pocket change compared to the most sought after item in the lot: \u003Ca href=\"https:\u002F\u002Fwww.sothebys.com\u002Fen\u002Fbuy\u002Fauction\u002F2021\u002Fyour-own-sylvia-sylvia-plaths-letters-to-ted-hughes-and-other-items-property-of-frieda-hughes\u002Ftarot-de-marseille-deck-of-cards-owned-by-sylvia\"\u003EPlath's personal tarot deck\u003C\u002Fa\u003E. Originally expected to fetch between $6,000 (£4,351) and $9,000 (£6,527), it \u003Ca href=\"https:\u002F\u002Fwww.smithsonianmag.com\u002Fsmart-news\u002Fsylvia-plaths-love-letters-recipe-cards-tarot-deck-sold-auction-180978293\u002F\"\u003Eeventually went for $206,886\u003C\u002Fa\u003E (£150,037).\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210623-the-halo-a-symbol-that-spread-around-the-world\"\u003EThe symbol that spread around the world\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210719-the-unseen-masterpieces-of-frida-kahlo\"\u003EThe unseen masterpieces of Frida Kahlo\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210816-the-ancient-symbol-that-was-hijacked-by-evil\"\u003EThe ancient symbol highjacked by evil\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EThe Tarot de Marseille deck was a 24th birthday gift from Hughes. Plath wrote in her journals of her wish to get better at reading tarot – but it played an important part in her art, too. She references the practice in her poem Daddy (\"With my gypsy ancestress and my weird luck\u002F And my Taroc pack and my Taroc pack\"), while The Hanging Man takes its name from a tarot card.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b1sbhn"],"imageAlignment":"centre","imageAltText":"Tarot de Marseilles","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Body\"\u003ETarot has been a muse for countless writers, artists and designers in their work – TS Eliot wrote of the \"wicked pack of cards\" in The Waste Land, Salvador Dalí created his own deck, while Andy Warhol made \u003Ca href=\"https:\u002F\u002Fwww.warhol.org\u002Fevents\u002Fin-conjuntion-with-contemporary-magic-a-tarot-deck-art-projectthe-velvet-underground-tarot-cards-1966\u002F\"\u003Ea film of the Velvet Underground \u003C\u002Fa\u003Ehaving their cards read. Earlier this year, fashion house Dior cast models as the characters from a deck of tarot cards for its \u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=jYOrGvVh7mk\"\u003Espring\u002F summer 2021 couture show\u003C\u002Fa\u003E (Christian Dior himself had his cards read before every show). Recently, the costume designer for the sci-fi film \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210903-four-stars-for-dune\"\u003EDune\u003C\u002Fa\u003E revealed that tarot cards were \u003Ca href=\"https:\u002F\u002Fwww.creativebloq.com\u002Ffeatures\u002Fdune-costume-design\"\u003Ea source of inspiration\u003C\u002Fa\u003E.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The symbols of tarot have been adapted and transformed hundreds of times over to reflect the time and culture in which they are created","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Body\"\u003EBut tarot does not only inspire artists and designers – it's a powerful art form in its own right. Look at tarot decks across the last 600 years and you'll get a crash course in art history, from Renaissance Italy through to Art Nouveau and Art Deco, to Pop Art and digital collage. The symbols of tarot have been adapted and transformed hundreds of times over to reflect the time and culture in which they are created. \"Tarot is really what you make of it, and that's why it's such an amazing medium for artists,\" author and editor Jessica Hundley tells BBC Culture. \"It's a blank canvas with some parameters, in that these images that you're creating need to have some corresponding meaning.\"\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EHundley is the editor of a series of books from Taschen, entitled The Library of Esoterica, that explore the visual history of the arcane. The weighty titles have focused on \u003Ca href=\"https:\u002F\u002Fwww.taschen.com\u002Fpages\u002Fen\u002Fcatalogue\u002Fart\u002Fall\u002F08004\u002Ffacts.astrology_the_library_of_esoterica.htm\"\u003EAstrology\u003C\u002Fa\u003E and, in the most recently published edition, \u003Ca href=\"https:\u002F\u002Fwww.taschen.com\u002Fpages\u002Fen\u002Fcatalogue\u002Fart\u002Fall\u002F08019\u002Ffacts.witchcraft_the_library_of_esoterica.htm\"\u003EWitchcraft\u003C\u002Fa\u003E – but Hundley says tarot was a natural beginning for the series. \"Tarot felt like the right place to start because it is a totally visual, archetypal language,\" she says. \"It's very much about our intuitive reaction to these archetypes.\"\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b1scw7"],"imageAlignment":"centre","imageAltText":"Tarot: The Library of Esoterica","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Body\"\u003EThe book \u003Ca href=\"https:\u002F\u002Fwww.taschen.com\u002Fpages\u002Fen\u002Fcatalogue\u002Fart\u002Fall\u002F08003\u002Ffacts.tarot_the_library_of_esoterica.htm\"\u003ETarot\u003C\u002Fa\u003E features more than 500 decks, spanning six centuries – and shows how different artists have put their own unique stamp on tarot. The Strength card, symbolising bravery in adversity, may typically feature a woman with a lion, but depending on the artist, that woman might be an Aztec warrior, Egyptian Queen or – in the \u003Ca href=\"https:\u002F\u002Fkhannibalism.bandcamp.com\u002Fmerch\u002Fthe-black-power-tarot-by-khaneaton\"\u003E2015 Black Power Tarot\u003C\u002Fa\u003E – Tina Turner. She might be stroking the lion, riding on its back or holding its jaw open. It might not be a lion at all, but a grizzly bear, or an alligator. Yet all will convey a sense of inner strength overcoming obstacles. \"It's really thrilling to see how people have interpreted and then completely changed it, but there's still that unifying archetype,\" says Hundley.  \u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EThe oldest known existing tarot cards, the Visconti-Sforza deck, date back to 15th-Century Italy. Created for aristocrats, the cards are hand-painted, intricate pieces of art, featuring figures that would go on to become key tarot archetypes. Tarot originated as a parlour game, and it wasn't until the 18th Century that the cards became a tool for divination.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EThe most famous – and influential – tarot was created in 1909 when occultist Arthur Edward Waite commissioned artist Pamela Colman Smith to design a deck. If you've only seen one tarot deck, it's likely to be this, the \u003Ca href=\"https:\u002F\u002Fwww.usgamesinc.com\u002FRider-Waite-Tarot-Deck.html\"\u003ERider-Waite-Smith\u003C\u002Fa\u003E (often referred to as just the Rider-Waite) – still the most widely used in the world today. Both Colman and Waite were members of the secret society the Hermetic Order of the Golden Dawn, devoted to the study of the occult (other members included Bram Stoker and WB Yeats). Their deck reimagined and modernised tarot, reinterpreting the imagery to create a deck intended to reflect the reader using it. \"The pictures are like doors which open unexpected chambers, or like a turn in the road with a wide prospect beyond,\" wrote Waite in the accompanying book, The Pictorial Key to Tarot.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b1sjjr"],"imageAlignment":"centre","imageAltText":"Tarot cards","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Body\"\u003EPamela Colman Smith wrote in a letter that it was \u003Ca href=\"https:\u002F\u002Fwww.openculture.com\u002F2021\u002F03\u002Fmeet-the-forgotten-female-artist-behind-the-worlds-most-popular-tarot-deck-1909.html\"\u003E\"a big job for very little cash\"\u003C\u002Fa\u003E – but her vibrant illustrations were key in widening the appeal of tarot. \"I think there's something about her intuitive understanding of these archetypes and her skill as an amazing graphic artist,\" says Hundley. \"She went to the Pratt Institute, and was really well versed in commercial art and posters. So she understood how to convey them in a way that felt very inclusive, and allowed other people to understand them in a way I think they maybe didn't before. Tarot owes a huge debt to what she created.\"\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EAnd yet, the Rider-Waite deck, and tarot itself, may have faded into obscurity if Stuart R Kaplan, founder and chairman of US Games Systems Inc hadn't stumbled across it at a toy fair in 1968.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E\"He reprinted the Rider-Waite and distributed it globally,\" says Hundley. \"If that hadn't happened and that deck hadn't somehow made it into his hands I don't know if tarot would have survived as anything more than sort of an obscure game.\" Today, tarot is thriving. While there are several specialist tarot publishers, self-publishing and crowdfunding has made it easier for any artist with a vision to create their own deck, leading to a diversification of the form and hundreds of different interpretations. Want a deck that reimagines tarot through the world of pasta? \u003Ca href=\"https:\u002F\u002Fwww.kickstarter.com\u002Fprojects\u002Fthebeff\u002Fthe-pasta-tarot\"\u003EYou're in luck\u003C\u002Fa\u003E.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E\u003Ca href=\"https:\u002F\u002Fwww.courtneyalexanderstudio.com\u002F\"\u003ECourtney Alexander\u003C\u002Fa\u003E, a multimedia artist based in Indiana, created her own deck, \u003Ca href=\"https:\u002F\u002Fdust2onyx.com\u002F\"\u003EDust II Onyx\u003C\u002Fa\u003E: A Melenated Tarot, when she couldn't find any cards that she felt connected with. \"I thought to myself, okay, I'll create the deck that I want to have,\" she says. \"The goal was to create not just a black deck in look, but I wanted it to embody blackness in essence and spirit.\" The 78 mixed-media collage paintings feature cultural myths, symbolism, history and icons within the black diaspora. She deliberately made her archetypes look otherworldly to \"allow the readers to connect to something beyond their human existence and the limitations of it\".\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b1sd4w"],"imageAlignment":"centre","imageAltText":"Dust II Onyx","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Body\"\u003EThe deck was funded via Kickstarter, raising $30,000 (£21,754) in just one month. Alexander has sold more than 6,000 decks to date. \"At one point in time tarot was just a very limited range of artwork and imagery that was very European in style. Now it's birthing a whole cultural language within itself that people can connect to. Everybody can find a version of it that they can work with.\"\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EFor an artist, tarot provides both a distinct challenge and a unique way to connect. \"You really get to stretch your artistic and creative muscle by creating such a large series of artwork,\" says Alexander. \"I've had exhibitions where people get to see my work for a few seconds, but now people around the world have a constantly renewed relationship with my artwork. That's very special.\"\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E\u003Cstrong\u003E'Witchy vibes'\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EWhile the iconography of tarot is something anyone can take meaning from, other visual symbols of the occult are harder to decipher. In witchcraft especially, secret symbols have always played an important role. \"The word occult means hidden, and the idea of your magic being very private and very personal is important for two reasons,\" says Pam Grossman, self-described witch, host of \u003Ca href=\"https:\u002F\u002Fwitchwavepodcast.com\u002F\"\u003EThe Witch Wave\u003C\u002Fa\u003E podcast and co-editor of Taschen's Witchcraft. \"Certainly because you don't want to be persecuted for practicing magic by your community, but secondly because there is this popular belief that the less you share your magic, the more potency it has.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b1sby8"],"imageAlignment":"centre","imageAltText":"Dust II Onyx","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Body\"\u003ESpell books – or \"grimoires\", an alteration of the mid-19th-Century French word \u003Cem\u003Egrammaire\u003C\u002Fem\u003E – especially, were often illustrated with visual signs and symbols that were only meant for the creator. \"Magic, even to this day is still a bit controversial, and so you have a long history of books that may have been created just for the individual to show to nobody,\" says Grossman.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EWhile some symbols associated with witchcraft – such as the pentagram – are universal, others are more unique. Perhaps the most personal of these are sigils, which Grossman describes as a blend of artistry and witchcraft. \"They are magical symbols that are charged with some kind of an intention to change or manifest something in one's life,\" she says.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EWhile sigils have existed for centuries, it was the influential British occultist and artist Austin Osman Spare who pioneered a method of creating sigils that is commonly used today. This involves writing out an intention, condensing the letters and arranging the remaining letters into an image. \"He came up with this method of taking text and designing the text into this beautiful glyph or symbol that he then would kind of infuse through various magical techniques to try to make things happen,\" says Grossman. \"Ever since then we've seen a lot of other artists get inspiration from him and infuse their artworks with sigils.\"\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EEven before Spare, artists have long been fascinated with esoteric symbolism. \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20181012-hilma-af-klint-the-enigmatic-vision-of-a-mystic\"\u003EHilma af Klint\u003C\u002Fa\u003E, a pioneer of abstract art and devoted spiritualist, used many enigmatic shapes and symbols in her work. British-Mexican surrealist Leonora Carrington – who also created \u003Ca href=\"https:\u002F\u002Ffulgur.co.uk\u002Fbooks\u002Fthe-tarot-of-leonora-carrington-arcana\u002F\"\u003Eher own tarot deck\u003C\u002Fa\u003E – scratched or painted magical emblems or secret symbols into her artwork. Contemporary artist \u003Ca href=\"https:\u002F\u002Fwhitney.org\u002Fexhibitions\u002F2014-biennial\u002Felijah-burgher\"\u003EElijah Burgher\u003C\u002Fa\u003E uses Spare's method to incorporate sigils into his work. \"A lot of the sigils that he incorporates are about queerness, identity and sexuality,\" says Grossman. \"[Sigils] have this gorgeous design element to them and people can get very specific about the colours that they're using and the shapes. There are some symbols that are universal but sigils are incredibly individual.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b1sc68"],"imageAlignment":"centre","imageAltText":"Spell books","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Body\"\u003EWith these aesthetic elements, it's perhaps no wonder that modern day witchcraft has found a home on social media. On TikTok, the hashtag \u003Ca href=\"https:\u002F\u002Fwww.tiktok.com\u002Ftag\u002Fwitchtok?lang=en\"\u003E#WitchTok\u003C\u002Fa\u003E has 20 billion views, and includes tarot readings, spells and lessons on how to create your own sigils. On Instagram \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fexplore\u002Ftags\u002Fwitchesofinstagram\u002F?hl=en\"\u003E#witchesofinstagram\u003C\u002Fa\u003E has nearly 8 million posts, and #witchyvibes close to 3 million.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-14"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"There's a magic in just the appreciation of the aesthetic… maybe we don't always have to go deep and understand what it means – Jessica Hundley","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Body\"\u003EInterest in tarot and witchcraft has been steadily increasing over the past few years. \"I think whenever we are in times where we feel like we don't have control or we feel powerless, we gravitate towards tools and systems that can help us feel like we have agency,\" says Grossman. \"We might not be able to control the pandemic or climate change, but we each do have power in our own selves and we do have the ability to make change in our lives, and to connect to something greater than ourselves.\"\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EFor a social media generation that is all about self-branding, secret symbols and sigils have a natural appeal – even if not everyone who uses them understands their true meaning. \"Look, witchcraft, let's be honest, it's popular not just because it's really meaningful and effective for people but it's aesthetically quite beautiful,\" says Grossman. \"So certainly you have people who are using these symbols with a lot of knowledge and intention, and then you have other people who wear it on a t-shirt because they think it looks cool.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-16"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b1sbp6"],"imageAlignment":"centre","imageAltText":"Tarot: The Library of Esoterica","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-17"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Body\"\u003EUnderstanding cultural context and giving credit and appreciation is important, says Hundley. \"But I think if you relate to an image and like it, sometimes you don't have to know why. There's a magic in just the appreciation of the aesthetic. There's a reason why we connect and maybe we don't always have to go deep and understand what it means.\"\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EAs for \u003Ca href=\"https:\u002F\u002Fwww.teenvogue.com\u002Fstory\u002Femoji-spells\"\u003Eemoji spells\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.sigilengine.com\u002F\"\u003Eonline sigil generators\u003C\u002Fa\u003E, finding new ways to be creative is inevitable, according to Grossman. \"The fact that people are using technology as part of their spell craft I think actually helps keep magick alive and relevant, and you know that's the beauty of it, that it adapts to its age.\"\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E\u003Ca href=\"https:\u002F\u002Fwww.taschen.com\u002Fpages\u002Fen\u002Fcatalogue\u002Fart\u002Fall\u002F08019\u002Ffacts.witchcraft_the_library_of_esoterica.htm\"\u003E\u003Cem\u003EWitchcraft: The Library of Esoterica\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E is published by Taschen.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E\u003Cem\u003E \u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us-18"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2021-11-03T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Why the secret symbols of magic and witchcraft fascinate us","headlineShort":"Why magic's secret symbols fascinate us","image":["p0b1scgv"],"imageAlignment":"centre","imageAltText":"Tarot cards","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"Tarot cards","promoImage":["p0b1sc1m"],"relatedStories":null,"relatedTag":["tag\u002Fsymbols-in-art"],"summaryLong":"From emoji spells to WitchTok, the mysterious, 600-year-old emblems of tarot and spell books are still resonating in the 21st Century. Clare Thorp finds out why.","summaryShort":"How 600-year-old emblems of witchcraft and tarot resonate in the 21st Century","tag":["tag\u002Fsymbols-in-art"],"textToSpeech":false,"creationDateTime":"2021-11-03T00:00:55.031437Z","entity":"article","guid":"3a234e81-a046-4278-a9f0-86c8abd85561","id":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us","modifiedDateTime":"2022-02-24T14:06:05.910246Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20211102-why-the-secret-symbols-of-magic-and-witchcraft-fascinate-us","cacheLastUpdated":1647023516187},"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist","_id":"621e43f145ceed2bd970902a","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fmatthew-wilson"],"bodyIntro":"As a new exhibition at Tate Britain celebrates the pioneering cultural figure, Matthew Wilson explores what has made his work so influential.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFrom our 21st-Century vantage, William Hogarth (1697-1764) is arguably Britain's most influential visual artist. He has been the subject of no fewer than four significant shows in London over the past two years. Key contemporary artists, including David Hockney, Paula Rego, Lubaina Himid, Yinka Shoninare and Grayson Perry, have paid explicit homage to his work over the past decades. Reverential parodies of Hogarth continue to appear in the work of modern political satirists such as \u003Ca href=\"https:\u002F\u002Fwww.coldwarsteve.com\u002F\"\u003ECold War Steve\u003C\u002Fa\u003E, Martin Rowson and \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Fartanddesign\u002F2007\u002Ffeb\u002F12\u002Fart.features111\"\u003ESteve Bell\u003C\u002Fa\u003E; he has even been cited as a major influence on the legendary satirical magazine \u003Ca href=\"https:\u002F\u002Fwww.pitzhanger.org.uk\u002Fwhatson\u002Flocked-down-with-ian-hislop\u002F\"\u003EPrivate Eye\u003C\u002Fa\u003E. No other painter from British art history can claim such an extensive impact.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211005-wole-soyinka-the-books-that-really-change-the-world\"\u003EThe books that really change the world?\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210721-laocon-and-his-sons-the-ultimate-expression-of-suffering\"\u003EThe revealing detail in an ancient find\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary\"\u003EExposing the evil in the ordinary\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EBut in many ways, Hogarth seems like an unlikely father of British culture. His most famous artworks, such as the series A Harlot's Progress (1732), A Rake's Progress (1734) and Marriage à-la Mode (1743), are difficult to understand with their massive cast of characters, intricate plotlines, complex symbols, and obscure historic references. And these famous series seem to delight in showing exactly what Art (with a capital \"A\") shouldn't be: a blazing spectrum of seedy misbehaviour, addictions, vice, and villainy, as well as not-so-subtle allusions to bodily functions and sexual trysts. Hogarth was popular in his day, but was never fully recognised by the establishment, and his art lacks the scale, erudition and sublimity of a Reynolds, Constable or Turner.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z6vsm"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESo, what has made Hogarth's art so influential? One key aspect is the way he embraced modernity. Tate Britain's new exhibition, \u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fwhats-on\u002Ftate-britain\u002Fexhibition\u002Fhogarth-and-europe\"\u003EHogarth and Europe\u003C\u002Fa\u003E, reshapes the attitude people have generally had of the artist – that he is a quintessentially British painter who embodied a national attitude and outlook. Maybe his longevity is less because of a perceived \"Britishness\" and more with how on-trend he was with the European cultural scene of his day. \u003C\u002Fp\u003E\n\u003Cp\u003EAccording to Hogarth and Europe's curator Alice Insley, the artist was born into a dynamic period of history. At the start of the 18th Century, the world was becoming ever more interconnected, and European society was changing fast. \"Hogarth lived at a time when artists turned to modern life for the first time,\" she tells BBC Culture, \"and the representation of the city becomes a new subject. In London there was really rapid growth and social change – entertainment places like Vauxhall Pleasure Gardens were springing up and the urban population became a new focus for artists.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z6stg"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHogarth's fascination with city life is one of the factors that made him relevant to subsequent generations. The world has become increasingly urbanised since Hogarth's time, and continues to be so: two-thirds of the global population are estimated to be living in cities by 2050. Although other European artists had begun turning city life into an artistic subject in the early 18th Century, Hogarth became the undisputed master of this new genre. He even pioneered a new art form with which to explain it: the multi-part series focusing on urban characters which Hogarth called his \"Modern Moral Subjects\". They all originated as paintings but were turned into mass-producible engravings by Hogarth so that they could reach the masses.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ECity life\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EA Harlot's Progress was his first. It is about the rise and fall of a young woman who becomes a sex worker in London, and innovatively it is played out across six scenes, like a comic. But unlike most modern comics, Hogarth packed each image with a truly extraordinary amount of detail.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z6tc1"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOne great example of this is the first scene of Marriage à-la-Mode. The set-up is as follows: two fathers are coming to terms over the arranged marriage of their offspring. One (\"the Earl of Squander\") is aristocratic but poor; the other is middle-class and wealthy. One will gain money through the marriage; the other social prestige. Love, clearly, is not a factor – hence the irony of the title, which translates as \"The Fashionable Marriage\". Hogarth's invective about these foolish social types comes through in the details. Outside a window you can see a building that has been commissioned by the aristocratic father. It is half-built, which cleverly symbolises the marriage's shoddy foundations. But its design is also flawed. In the classical style of architecture, columns should always be used in even numbers. The fact that it has three columns across the entrance pithily marks the Earl of Squander as a being poor in artistic taste as well as morals – ultimate crimes in the Hogarth universe.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"He poured scorn on the debauchery of modern lives – but his art also enticed customers who wanted to be spectators of sensation and scandal","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt is joyful to be told about these intricacies, and equally enjoyable explaining them to others. Perhaps this accounts for Hogarth's art being passed on through the generations, and artists enthusiastically re-using and re-imaging his deliciously intricate visual language.\u003C\u002Fp\u003E\n\u003Cp\u003EThe invention of complex narratives based on the kinds of people you see around you in cities was a very clever entrepreneurial move by Hogarth. He poured scorn on the debauchery of modern lives – but his art also enticed customers who wanted to be spectators of sensation and scandal. As a result, A Harlot's Progress, A Rake's Progress and Marriage à-la-Mode were all fabulous successes, establishing the artist's fame and financial security.\u003C\u002Fp\u003E\n\u003Cp\u003EInsley believes that Hogarth's popularity in the past explains his influence on the present. \"Hogarth is such a rich artist in terms of how many strands there are to his art,\" she says, adding that there was also something unique about his approach. \"His influence on future artists may have been down to his critical outlook, and his originality in claiming independence. He carefully positioned himself as a social critic, someone shining a light on society.\"\u003C\u002Fp\u003E\n\u003Cp\u003EHogarth's stance as a critical outsider was a huge influence on a later generation of satirists, including James Gillray (1757-1815), who followed Hogarth in using sequential narration, and even directly copied some of Hogarth's compositions. Into the 19th Century, the influence of Hogarth is evident in the paintings of some Pre-Raphaelites, including Millais and William Holman Hunt, who made criticisms of contemporary morality in their art and relied, like Hogarth, on symbolism to allow their paintings to be \"read\" almost like texts.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z6tph"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EEven in the later 20th Century, Hogarth's social commentary continued to have resonance. After a visit to New York in 1961, David Hockney made 16 etchings describing his imagined adventures and moral decline in the Big Apple called A Rake's Progress. Hogarth's precedent had given Hockney licence to turn his life's pleasures and pitfalls into art.\u003C\u002Fp\u003E\n\u003Cp\u003EBut perhaps Hogarth's greatest bequest is the way he handled satire. He mocked a great array of people and their shortcomings, and no one, no matter where they sat on the social hierarchy, was spared. It was this aspect of Hogarth that inspired Lubaina Himid (a pioneer of the Black Art Movement and winner of the Turner Prize in 2017) to recreate the fourth scene of Hogarth's Marriage à-la-Mode in her installation A Fashionable Marriage in 1987. Himid recast all of Hogarth's original figures in new roles in order to deride the artistic and political culture of the 1980s. They became critics and dealers, contemporary artists, young Tories, and caricatures of Margaret Thatcher and Ronald Regan. The most poignant aspect is the reworking of black figures from Hogarth's original. Hogarth's slave boy in the foreground of The Toilette, for example, is recast as a young black girl with a pistol beside her.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z6w51"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe modern satirist who has come closest to the original spirit of Hogarth is the photomontage artist Cold War Steve. Even when he is not creating an explicit homage to the work of Hogarth, Cold War Steve's imagery is similarly rooted in the landscapes of the immediate present, and leverages modern technology to reach large audiences (for Hogarth the printing press – for Cold War Steve, Twitter). Both deal in images of abundant visual detail, excoriating mockery and withering social commentary.\u003C\u002Fp\u003E\n\u003Cp\u003EHogarth left a sizeable legacy to art with his innovative approach to image-making. He treated contemporary urban life and social criticism as the subjects of art, perfected a new art form (the multi-image series), and devised his own, highly nuanced visual language. But what will make his art perpetually modern is his engagement with the changes that he saw in the word around him. His art asked questions of society but it seldom gave easy answers. As Insley puts it, \"he was quite a complex personality. He made the most out of his times. But his art shows that he was also quite anxious.\" How true. Hogarth's art was made for the people – and it reflects our contradictory and unruly nature.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fwhats-on\u002Ftate-britain\u002Fexhibition\u002Fhogarth-and-europe\"\u003EHogarth and Europe\u003C\u002Fa\u003E is at Tate Britain, London, from 3 November 2021 to 20 March 2022.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist-12"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2021-11-02T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Why William Hogarth is Britain's greatest artist","headlineShort":"Why Hogarth is the UK's greatest artist","image":["p09z6yxb"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fart-history"],"summaryLong":"As a new exhibition at Tate Britain celebrates the pioneering cultural figure, Matthew Wilson explores what has made his work so influential.","summaryShort":"How the pioneering satirist has gone on to influence generations","tag":["tag\u002Fart-history"],"textToSpeech":false,"creationDateTime":"2021-11-02T00:00:24.824448Z","entity":"article","guid":"9f855eb7-469e-47c3-bedc-d904ac3e40bc","id":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist","modifiedDateTime":"2022-02-24T14:05:24.278809Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20211020-why-william-hogarth-is-britains-greatest-artist","cacheLastUpdated":1647023516188},"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began","_id":"621e43ee45ceed28c979df6b","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fprecious-adesina"],"bodyIntro":"A new art exhibition offers a fuller, more rounded view of humanity's impact on the Earth – by tracing its link with colonialism. Precious Adesina talks to the artists.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt has been more than three decades since climate change became front-page news. In 1988, The New York Times ran an article titled \"Global Warming Has Begun, Expert Tells Senate\". Ever since, discussions on the crisis have predominantly focused on how the state of the world has been affected by humans since the Industrial Revolution in the West – and with good reason. The Earth's temperature has increased by 0.07C every decade since the late 19th Century, a rise that has been linked to the mass burning of fossil fuels. Yet a new exhibition of work by various artists suggests that we must look further back in time and analyse the issue from a non-Western perspective in order to get a fuller picture of the current emergency.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210915-butterflies-the-ultimate-icon-of-our-fragility\"\u003EWhy we need powerful symbols\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200528-the-climate-change-clues-hidden-in-art-history\"\u003EClimate change clues hidden in art\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210601-how-the-dutch-are-facing-up-to-their-colonial-past\"\u003EFacing up to a horrifying history\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe group show \u003Ca href=\"https:\u002F\u002Fwww.somersethouse.org.uk\u002Fwhats-on\u002Fwe-are-history\"\u003EWe Are History\u003C\u002Fa\u003E: Race, Colonialism and Climate Change opened to coincide with \u003Ca href=\"https:\u002F\u002Fwww.somersethouse.org.uk\u002Fwhats-on\u002F1-54-contemporary-african-art-fair\"\u003E1-54 Contemporary African Art Fair\u003C\u002Fa\u003E at London's Somerset House. Through the lens of 11 artists who have a personal relationship with the Caribbean, South America and Africa, the exhibition looks not only at the roots of global warming, but also at how it impacts the developing world. By looking back, the link between the world's environmental issues, colonialism and slavery is highlighted. Also explored is how these problems still have a disproportionately negative impact on certain countries. A \u003Ca href=\"https:\u002F\u002Fwww.pnas.org\u002Fcontent\u002F117\u002F15\u002F8254\"\u003Estudy\u003C\u002Fa\u003E released in 2020, published by two archaeologists, revealed how colonisation forced residents in Caribbean communities to move away from traditional and resilient ways of building homes to more modern but less suitable ways. These habitats have proved to be more difficult to maintain, with the materials needed for upkeep not locally available, and the buildings easily overwhelmed by hurricanes, putting people at greater risk during natural disasters. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z7vbd"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAmong the exhibits is Barbadian-Scottish artist Alberta Whittle's film from the forest to the concrete (to the forest), 2019, which directly explores this topic, documenting the effects of Hurricane Dorian in the Bahamas. The 10-minute-long film is stamped with the date 09.09.19, nine days after the disaster. \"Africa produces 4% of the world's greenhouse gases, the whole continent, but yet it is so at the front line,\" Whittle \u003Ca href=\"https:\u002F\u002Fwww.theskinny.co.uk\u002Fart\u002Finterviews\u002Falberta-whittle-dca-interview\"\u003Etold culture magazine The Skinny\u003C\u002Fa\u003E. The artist wants people in the UK to see the disparity between their own comfort and the relative lack of comfort of their non-Western counterparts. She intertwines a number of performances with footage of destruction. \"[There was] a terrible hurricane that moved through the Bahamas last week,\" she said at the time of its premiere. \"But what I see in the weather in the news in the UK, is 'Oh isn't this wonderful, we are about to go through a period of sunshine'.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"It's important to continually analyse and attempt to understand the effects of the afterlife of transatlantic slavery – Louis Henderson","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhat this exhibition asks is: who we are really talking about when we question how our collective actions are having an effect on the environment? According to the curator of the exhibition, Ekow Eshun, if we don't allow the people in emerging countries to speak for themselves, we force them out of the conversation and into one that isn't consistent with the facts. \"Otherwise we end up repeating the same narrative that we’ve repeated for a long time that somehow people in the developing world are supporting characters in the drama, rather than communities that are directly affected [by climate change],\" Eshun tells BBC Culture. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z829q"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESimilarly, British filmmaker Louis Henderson focuses on how the West is primarily responsible for the disruptions to the natural world that humans have caused in his almost 30-minute long video The Sea is History, 2016. Henderson adapts the poem of the same name by Caribbean poet Derek Walcott. In his poem, Walcott discusses the effects of colonisation on a community's culture, and claims that the history of these places is hidden in the sea. The footage in Henderson's piece features mesmerising shots of Lake Enriquillo, a lake in the Dominican Republic that often floods due to rises in sea temperature.\u003C\u002Fp\u003E\n\u003Cp\u003EThrough this, the artist explores how the exploitation of the island for its natural resources, the genocide of the indigenous population and the importation of enslaved people have contributed to the global emergency. \"I am interested in identifying Columbus's 1492 arrival on the island of Ayiti\u002FKiskeya (nowadays known as Haiti and the Dominican Republic) as a potential starting point for the climate crisis the world is facing today,\" Henderson tells BBC Culture. \"I believe it's important to continually analyse and attempt to understand the effects of the afterlife of transatlantic slavery, both on a local and a global scale, and how it impacted the Earth's geology and its ecosystems.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EHidden history\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EMuch like Whittle and Henderson, the collaborative duo Jennifer Allora and Guillermo Calzadilla explore how outsiders have impacted the Caribbean, but they take a different approach. Their screen-printing method for the series Contracts uses layers of black ink to taint the beautiful scenery they depict. \"What seem to be conventional pictures of a beautiful destination are disrupted by a layer of a single colour ink, shrouding the idyll partly or completely,\" say the duo. \"We live and work in Puerto Rico, a Caribbean island that, since the colonial period, has been systematically exploited for its natural resources… As climate change makes weather events more severe, from droughts to hurricanes, the already vulnerable island is put in an even more heightened state of precariousness.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z7s6b"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EContract (AOC L), 2014\u003Cem\u003E,\u003C\u002Fem\u003E shown at the exhibition, is a piece that is part of the larger series. In it, the pair catalogue sites in Vieques, Puerto Rico, where palm trees were used as markers by the US military to highlight where hazard waste was disposed. The areas are now managed by the US Department of Interior, Fish and Wildlife Service as conservation zones, according to the artists. \"This paradoxical designation denies the underlying environmental and health risks of the dumps –  so toxic that in 2005 they were placed on the US Environmental Protection Agency's Superfund National Priorities List,\" they say.\u003C\u002Fp\u003E\n\u003Cp\u003EColombian artist Carolina Caycedo says that the only way to truly move forward is to listen to the people who are explicitly affected by these changes to the ecosystem. \"We urgently need to look at what communities that are actually on the frontlines are proposing on a grassroot level, since they are the people who are directly impacted by the climate crisis,\" she tells BBC Culture. Her research-based art project, Be Dammed, investigates the environmental and social consequences of dams throughout Latin America. \"By [looking at] different case studies in the Americas, I've had a chance to collaborate with some of these communities to highlight alternatives to these large infrastructures,\" she says.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z7wnc"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhile none of these artists offer a hyper-specific call to action, collectively they show how climate change has affected the countries they belong to, or associate themselves with, and the importance of putting global issues into perspective. As Eshun puts it: \"I think it's important that those voices and those perspectives are heard and not simply as victims but heard as people who have agency and autonomy, and in this respect they're heard through the voice of artists.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.somersethouse.org.uk\u002Fwhats-on\u002Fwe-are-history\"\u003EWe Are History: Race, Colonialism and Climate Change\u003C\u002Fa\u003E is at Somerset House, London, until 6 February 2022.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.blackhistorymonth.org.uk\u002F\"\u003EBlack History Month\u003C\u002Fa\u003E takes place throughout October in the UK.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-10"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2021-10-25T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The art exploring the truth about how climate change began","headlineShort":"Exploring the truth about our planet","image":["p09z7x5y"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":["p09z7x5y"],"relatedStories":null,"relatedTag":["tag\u002Fculture-and-climate-change"],"summaryLong":"A new art exhibition offers a fuller, more rounded view of humanity's impact on the Earth – by tracing its link with colonialism. Precious Adesina talks to the artists.","summaryShort":"A new art exhibition offers a fuller view of humanity's impact on the Earth","tag":["tag\u002Fculture-and-climate-change"],"textToSpeech":false,"creationDateTime":"2021-10-24T23:00:35.041423Z","entity":"article","guid":"386fe971-70ea-4959-9250-30e88b485e6e","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began","modifiedDateTime":"2022-02-24T14:05:18.908063Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began","cacheLastUpdated":1647023516189},"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary","_id":"621e43f345ceed28e678526a","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fdeborah-nicholls-lee"],"bodyIntro":"The painter Marlene Dumas has transformed the way we see the world, writes Deborah Nicholls-Lee, as two new exhibitions of her work open.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EA child smeared in paint lingers sheepishly in the foreground of a stark white canvas. The aftermath of an unsupervised art session is a recognisable image of family life, but in \u003Ca href=\"https:\u002F\u002Fwww.moma.org\u002Fmedia\u002FW1siZiIsIjI0MTQ1OCJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MTQ0MFx1MDAzZSJdXQ.jpg?sha=63197000ee638f78\"\u003EThe Painter\u003C\u002Fa\u003E (1994) by Marlene Dumas, the girl's sinister stare and blood-coloured hands disrupt the trope, taking us somewhere darker.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ysr13"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPerhaps the painter in the title is in fact Dumas, engaged in \u003Ca href=\"https:\u002F\u002Fwww.marlenedumas.nl\u002Falice-doesnt-live-here-anymore\u002F\"\u003Ewhat she calls\u003C\u002Fa\u003E \"the power struggle between the artist and subjects\", and her daughter – the painting's focus – merely an accessory to broader questions of innocence and identity. \"Art is not a mirror,\" \u003Ca href=\"https:\u002F\u002Fwww.marlenedumas.nl\u002Funsatisfied-desire-and-the-untrustworthy-language-art\u002F\"\u003EDumas has said\u003C\u002Fa\u003E, writing that \u003Ca href=\"https:\u002F\u002Fwww.marlenedumas.nl\u002Funsatisfied-desire-and-the-untrustworthy-language-art\u002F\"\u003E\"a good work of art is essentially elusive\"\u003C\u002Fa\u003E. In a ground-breaking departure from the conventions of portrait painting, feelings, rather than fixed representations, dominate.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210819-where-is-the-worlds-most-expensive-painting\"\u003EThe mystery of the 'lost Leonardo'\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210817-is-disneyland-an-art-masterpiece-or-corporate-monstrosity\"\u003EWhy Disneyland is an art masterpiece\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210810-roaring-twenties-are-we-entering-a-new-age-of-hedonism\"\u003EWill there be a new 'Roaring 20s'?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EA decade earlier, with self-portrait \u003Ca href=\"https:\u002F\u002Fwww.moma.org\u002Fd\u002Fassets\u002FW1siZiIsIjIwMTgvMTAvMzEvN3lwMHBwZWpqcF8yNDk4MC5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSAyMDAweDIwMDBcdTAwM2UiXV0\u002F24980.jpg?sha=b5642a3ec1d45db0\"\u003EEvil is Banal\u003C\u002Fa\u003E, Dumas interrogated her own duplicity as a white girl brought up in South Africa under apartheid. In this portrait, a black-stained hand and face, within an otherwise peaceful pose, explores the symbolism of the light-dark dichotomy, and suggests a malign complicity contained in the outwardly ordinary. Later, the scarred face in \u003Ca href=\"https:\u002F\u002Fwww.christies.com\u002Fimg\u002FLotImages\u002F2011\u002FNYR\u002F2011_NYR_02440_0030_000(marlene_dumas_the_white_disease053003).jpg?mode=max\"\u003EThe White Disease\u003C\u002Fa\u003E (1985) would provide an even bleaker evocation of the moral decay of the apartheid regime and its disfiguring of her homeland.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ysr89"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ELeaving South Africa behind and moving to Amsterdam in 1976 afforded Dumas tremendous artistic freedom. She could wander the city in relative safety, see masterpieces close up, and there was easy access to pop culture and media − the basis, no doubt, for the collages that formed part of her early work.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"I deal with second-hand images and first-hand experiences – Marlene Dumas","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EReturning to portraiture, she shunned formal sittings, instead conjuring diverse, often transgressive, subjects – from \u003Ca href=\"https:\u002F\u002Fassets.phillips.com\u002Fimage\u002Fupload\u002Ft_Website_LotDetailMainImage\u002Fv1\u002Fauctions\u002FNY010316\u002F19_001.jpg\"\u003Esex workers\u003C\u002Fa\u003E to \u003Ca href=\"https:\u002F\u002Fwww.fondationbeyeler.ch\u002Fen\u002Fbeyeler-collection\u002Fwork?tx_wmdbbasefbey_pi5%5Bartwork%5D=144&cHash=2609682a4acc1db750188abb8577722c\"\u003Epop icons\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fart\u002Fartworks\u002Fdumas-oscar-wilde-t15179\"\u003Eplaywrights\u003C\u002Fa\u003E − from the myriad newspaper cuttings, books and Polaroids that cluttered her Amsterdam studio − images \u003Ca href=\"https:\u002F\u002Fwww.marlenedumas.nl\u002Fdutch-art\u002F\"\u003Ethat she says\u003C\u002Fa\u003E \"are familiar to almost everyone, everywhere\". This detachment from the original subject, \u003Ca href=\"https:\u002F\u002Fwww.marlenedumas.nl\u002Falice-doesnt-live-here-anymore\u002F\"\u003Edescribed by Dumas as\u003C\u002Fa\u003E \"the transformative magic of portraiture\", created space for artistic interpretation, while drawing out the commonality of the human condition. \"I deal with second-hand images and first-hand experiences,\" \u003Ca href=\"https:\u002F\u002Fwww.marlenedumas.nl\u002Fdutch-art\u002F\"\u003Eshe writes\u003C\u002Fa\u003E.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ysrjt"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ETexturally, Dumas has always worked unhindered by expectation – producing dynamic, confident brushstrokes in unpredictable colours, and displaying a vigorous freedom of expression that differentiates her from most of her predecessors. Being painted by Dumas is no vanity project. Her works provoke compassion and aversion in equal measure, and prioritise a thickly meshed meta-text over an immediate likeness. Babies feature in morbid blue-green oils – alien arrivals with baffling dimensions, while the ephemeral beauty of a \u003Ca href=\"http:\u002F\u002Fwww.artnet.com\u002FWebServices\u002Fimages\u002Fll01001lldS09GFgMUECfDrCWvaHBOcNZbE\u002Fmarlene-dumas-copy-of-a-model-(naomi-campbell).jpg\"\u003Etop model\u003C\u002Fa\u003E dissolves and warps as water bleeds into the ink.\u003C\u002Fp\u003E\n\u003Cp\u003EDumas's recent work includes a series of 15 paintings, exhibited at the \u003Ca href=\"https:\u002F\u002Fwww.musee-orsay.fr\u002Ffr\u002Fexpositions\u002Fmarlene-dumas\"\u003EMusée d'Orsay\u003C\u002Fa\u003E from 12 October 2021, to mark the bicentenary of the radical 19th-Century French poet Charles Baudelaire, who shared her fascination with the interplay of beauty and evil, eroticism and disgust. The works illustrate prose poems from Baudelaire's posthumous The Paris Spleen (1869), and demonstrate Dumas's extraordinary range, from her perceptive \u003Ca href=\"https:\u002F\u002Ffiles.ocula.com\u002Fanzax\u002Fa3\u002Fa3c15d42-0ab8-4d55-b87c-37e93fb967b8_1200_1586.jpg\"\u003Eportrait\u003C\u002Fa\u003E of the brooding poet's genius, to the abstract melancholy of \u003Ca href=\"https:\u002F\u002Ffiles.ocula.com\u002Fanzax\u002Fb6\u002Fb6b14b42-e247-4dd1-bc32-2821362312ba_454_650.jpg\"\u003EThe Old Woman's Despair\u003C\u002Fa\u003E.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yssp9"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EDonatien Grau, advisor for contemporary programmes at the Musée d'Orsay, worked with Dumas on the exhibition. \"As opposed to other artists, there is no one way in which she paints,\" he tells BBC Culture. \"She's consistently redefining, reinventing, trying things. What's really striking with the Paris Spleen, is it's really an encyclopaedia of her ways of painting, rooted in an engagement with Baudelaire.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-10"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"She is a master, in the classical sense: she makes masterpieces – Donatien Grau","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWith the exhibition, Dumas – now 68 – becomes the first living artist to present her work in the museum's celebrated Impressionists Gallery, where three of her pieces will be hung in dialogue with paintings from the museum's collection, including Vincent van Gogh's Starry Night.\u003C\u002Fp\u003E\n\u003Cp\u003EThis unprecedented honour is a mark of the esteem in which Dumas is held and the pivotal role she plays in art history. \"It's really extremely rare to see paintings that have such extraordinary charisma,\" says Grau. \"She is a master, in the classical sense: she makes masterpieces.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\"There aren't many artists who can match historical paintings,\" Grau adds, pointing out \"the density of time\" abundant in Dumas's multi-layered work. \"That is an extraordinary challenge to certain preconceived ideas, according to which, it wasn't permissible – or even possible – for women to tackle history,\" he says. \"Every painting she makes is a contradiction to that preconceived idea.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yssxj"],"imageAlignment":"centre","imageOrientation":"square","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EDumas's overtly political or historical pieces are partly governed by a desire to make visible the under-represented. As such, her broad oeuvre includes all that touches her. Paintings relating to \u003Ca href=\"https:\u002F\u002Fwww.moma.org\u002Fcollection\u002Fworks\u002F137427\"\u003EPalestinian-Israeli relations\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fart\u002Fartists\u002Fmarlene-dumas-2407\u002Fmarlene-dumas-great-men\"\u003Egay rights\u003C\u002Fa\u003E show how Dumas does not shy away from battlegrounds that are not strictly her own, while \u003Ca href=\"https:\u002F\u002Fmcachicago.org\u002Fcollection\u002Fitems\u002Fmarlene-dumas\u002F3776-The-Trophy\"\u003EThe Trophy\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.artsy.net\u002Fartwork\u002Fmarlene-dumas-the-widow-1\"\u003EThe Widow\u003C\u002Fa\u003E, painted in 2013, both set in her home continent of Africa, speak universal truths about female oppression.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-14"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The question again imposes itself: what does cruelty look like, and is it in all of us?","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"Marlene has such unbelievable empathy and sensitivity,\" says Grau. \"And that is apparent when you meet her, and that is apparent when you look at her work.\" Like Baudelaire, whose \u003Ca href=\"https:\u002F\u002Fwww.csus.edu\u002Findiv\u002Fo\u002Fobriene\u002Fart109\u002Freadings\u002F11%20baudelaire%20photography.htm\"\u003Eessay on photography\u003C\u002Fa\u003E advocates for art based on imagination rather than empty reproductions, Dumas seeks our emotional engagement, taking us somewhere beyond prosaic materiality – \u003Ca href=\"https:\u002F\u002Focula.com\u002Fart-galleries\u002Fzeno-x-gallery\u002Fartworks\u002Fmarlene-dumas\u002Frat\u002F\"\u003Ea rat\u003C\u002Fa\u003E, \u003Ca href=\"https:\u002F\u002Fwww.christies.com\u002Fen\u002Flot\u002Flot-5533877\"\u003Ea stripper\u003C\u002Fa\u003E, \u003Ca href=\"http:\u002F\u002Fwww.mariannefaithfull.org.uk\u002Ftag\u002Fmarlene-dumas\u002F\"\u003Ea celebrity\u003C\u002Fa\u003E – and showing us something new.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-16"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yst03"],"imageAlignment":"centre","imageOrientation":"square","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-17"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn \u003Ca href=\"http:\u002F\u002Fwww.zeno-x.com\u002Fexhibitions\u002Fexhibitions\u002F2008_MD_STORAGE\u002F2008_MD_storage_works\u002Fslides\u002FMD2008_21.html\"\u003ESad Romy\u003C\u002Fa\u003E (2008), for example, the tragic life of actress Romy Schneider is evoked by the lachrymose grey paint, while Dumas's unexpectedly benign portrayal of terrorist leader \u003Ca href=\"https:\u002F\u002Fwww.stedelijk.nl\u002Fen\u002Fcollection\u002F94333-marlene-dumas-osama\"\u003EOsama bin Laden\u003C\u002Fa\u003E (2010) suggests an uncomfortable shared humanity. Here, as with her 1985 masterpiece \u003Ca href=\"https:\u002F\u002Fwww.christies.com\u002Fen\u002Flot\u002Flot-4806414\"\u003EDie Baba\u003C\u002Fa\u003E − a ghoulish-green baby with a quizzical eyebrow, unflinching stare and disturbing resemblance to Hitler – the question again imposes itself: what does cruelty look like, and is it in all of us?\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EIn the frame\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EDumas is probably the first woman artist of the post-war generation to have made portraiture and figure painting the focus of her work, says Theodora Vischer, senior curator at the Beyeler Foundation in Basel, where the exhibition \u003Ca href=\"https:\u002F\u002Fwww.fondationbeyeler.ch\u002Fen\u002Fexhibitions\u002Fclose-up\"\u003EClose Up\u003C\u002Fa\u003E recently opened, showcasing nine pieces by Dumas, alongside key works by eight other pioneering women portrait artists, including Frida Kahlo and Cindy Sherman.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-18"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yst42"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-19"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOn show is \u003Ca href=\"https:\u002F\u002Fnews.artnet.com\u002Fapp\u002Fnews-upload\u002F2019\u002F05\u002FDUMMA0887_V1-850x1024.jpg\"\u003ETeeth\u003C\u002Fa\u003E (2018), an example of the intimate and confronting close-ups favoured by the artist, and typical of her fast and free − but highly controlled – style. \"It's a pure, energetic painting composed of colour and gesture that merge somehow to form a face… that seems almost to hurl itself at the viewer,\" Vischer tells BBC Culture.\u003C\u002Fp\u003E\n\u003Cp\u003EThe painting is based on a photograph of opera singer Maria Callas, but this is less important than what the piece says about human existence. \"Her portraits no longer seek to capture a person in his or her unique, independent individuality,\" explains Vischer. \"They show people closely connected with the events and the world that's around them. A face, a portrait by Dumas, contains a variety of experiences, a plurality of knowledge and truth, but all have a real, lived origin, and at the same time are of a timeless nature.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\"As an artistic personality, Marlene Dumas is certainly a role model for many artists,\" Vischer says. Speaking to The Independent in 2015, US-born British artist \u003Ca href=\"http:\u002F\u002Fwww.artnet.com\u002Fartists\u002Fchantal-joffe\u002F\"\u003EChantal Joffe\u003C\u002Fa\u003E (born in 1969), for example, \u003Ca href=\"https:\u002F\u002Fwww.independent.co.uk\u002Farts-entertainment\u002Fart\u002Ffeatures\u002Fhow-female-artists-are-fighting-back-10363424.html\"\u003Edescribed her as\u003C\u002Fa\u003E \"the greatest living painter\". For Joffe and her contemporaries, Dumas had blown open the canon of portrait painting, paving the way for new forms of expression. \"Even though I always painted figures, she gave me a freedom,\" Joffe says.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-20"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"She belongs to that great generation of artists who are women and who have completely shaped the way of art history – Grau","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-21"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAnd if the value of work is also what buyers will pay for it, then Dumas has also helped trailblaze for women. In 2005, \u003Ca href=\"http:\u002F\u002Fwww.artnet.com\u002Fartists\u002Fmarlene-dumas\u002Fthe-teacher-subaaa-WjHlkb3SmhFmhCVqmQLhqA2\" target=\"_blank\"\u003EThe Teacher\u003C\u002Fa\u003E became \u003Ca href=\"https:\u002F\u002Fnews.artnet.com\u002Fart-world\u002Fmost-expensive-female-artists-817277\"\u003Ethe most expensive work created by a living female artist\u003C\u002Fa\u003E when it sold for £1.8m at Christie's. Three years later Dumas broke her own record when \u003Ca href=\"https:\u002F\u002Fwww.sothebys.com\u002Fen\u002Fauctions\u002Fecatalogue\u002F2008\u002Fcontemporary-art-evening-auction-l08022\u002Flot.12.html\" target=\"_blank\"\u003EThe Visitor\u003C\u002Fa\u003E fetched £3.1m at Sotheby's.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-22"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yst87"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-23"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EDumas, for her part, admires among others Edvard Munch, Francis Bacon, and the US portraitist Alice Neel (1900-1984), who also features in Close Up at the Beyeler Foundation. Neel's expressed desire \"to catch life as it goes by, hot off the griddle\", and to paint \"people\" – body and soul – rather than models, made a mark on her, and she acknowledges in hindsight The Painter's debt to Neels's \u003Ca href=\"https:\u002F\u002Fwhitney.org\u002Fcollection\u002Fworks\u002F2887\"\u003EAndy Warhol\u003C\u002Fa\u003E (1970).\u003C\u002Fp\u003E\n\u003Cp\u003EAs the Musée d'Orsay exhibition prepares to open, Grau cannot emphasise enough Dumas's influence on \"every young painter\". \"She belongs to that great generation of artists who are women and who have completely shaped the way of art history,\" he says.\u003C\u002Fp\u003E\n\u003Cp\u003ESensuous but cerebral, cruel but tender – Dumas's work has overturned the aesthetic of portraiture, stripping back the veneer to reveal something loathsome and visceral but also sublime.\u003C\u002Fp\u003E\n\u003Cp\u003E\"There is no beauty if it doesn't show some of the terribleness of life,\" Dumas writes. \"Art is there to remind us that all laws about what is beautiful and valuable were made by humans and can be changed by them.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Ca href=\"https:\u002F\u002Fwww.fondationbeyeler.ch\u002Fen\u002Fexhibitions\u002Fclose-up\"\u003E\u003Cem\u003EClose Up\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E is running at the Beyeler Foundation, Basel until 2 January 2022.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EMarlene Dumas, The Paris Spleen and Marlene Dumas, Conversations are showing at the \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.musee-orsay.fr\u002Ffr\u002Fexpositions\u002Fmarlene-dumas\"\u003E\u003Cem\u003EMus\u003C\u002Fem\u003E\u003Cem\u003Eé\u003C\u002Fem\u003E\u003Cem\u003Ee d'Orsay\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, Paris until 30 January 2022.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-24"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2021-10-18T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Marlene Dumas: The art exposing the evil in the ordinary","headlineShort":"Exposing the evil in the ordinary","image":["p09ysvbw"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"621e44a645ceed11e20f4866"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fvisual-pioneers"],"summaryLong":"The painter Marlene Dumas has transformed the way we see the world, writes Deborah Nicholls-Lee, as two new exhibitions of her work open.","summaryShort":"How the painter Marlene Dumas has transformed the way we see the world","tag":["tag\u002Fvisual-pioneers"],"textToSpeech":false,"creationDateTime":"2021-10-17T23:30:35.040199Z","entity":"article","guid":"a5bd96ac-7919-40ec-afb3-fdfb5115013b","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary","modifiedDateTime":"2022-02-24T14:04:58.075405Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary","cacheLastUpdated":1647023516190}},"tags":{"tag\u002Fart-history":{"urn":"urn:pubpipe:wwverticals:tag:tag\u002Fart-history","_id":"621e44a645ceed1c801daa0c","assetImage":null,"description":"BBC Travel’s latest stories about art history from around the world","linkUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20220311183155\u002Fhttp:\u002F\u002Fdbpedialite.org\u002Fthings\u002F21207536","name":"Art 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pioneers","creationDateTime":"2021-03-05T14:55:44.814309Z","entity":"tag","guid":"c6b50b61-b587-404c-bd84-ef97c4d5976a","id":"tag\u002Fvisual-pioneers","modifiedDateTime":"2022-02-27T23:59:45.628797Z","project":"wwverticals","slug":"tag\u002Fvisual-pioneers","cacheLastUpdated":1647023516191},"tag\u002Fcontemporary-art":{"urn":"urn:pubpipe:wwverticals:tag:tag\u002Fcontemporary-art","_id":"621e44a345ceed0ee57fbdfa","assetImage":null,"description":"BBC Travel’s latest stories about contemporary art from around the world","linkUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20220311183155\u002Fhttp:\u002F\u002Fdbpedialite.org\u002Fthings\u002F63380","name":"Contemporary 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