Arts and Culture

Qatar has opened the world’s first museum dedicated to exiled Indian artist Maqbool Fida Husain, who left India in 2006 after controversy over his artwork. The Lawh Wa Qalam museum showcases the works MF Husain created during his final years in Qatar.

British playwright Tom Stoppard, a playful, probing dramatist who won an Academy Award for the screenplay for 1998’s Shakespeare In Love, has died. He was 88.

In a statement on Saturday, United Agents said Stoppard died “peacefully” at his home in Dorset in southern England, surrounded by his family.

“He will be remembered for his works, for their brilliance and humanity, and for his wit, his irreverence, his generosity of spirit and his profound love of the English language,” they said. “It was an honor to work with Tom and to know him.”

When it comes to the world of comic invention and linguistic pyrotechnics, few dramatists of the 20th century could match Stoppard’s scope and sustained success.

From his earliest hit, Rosencrantz and Guildenstern Are Dead, in 1966, through to 1993’s, Arcadia, and, Leopoldstadt, in 2020, Stoppard engaged and amused theatre-goers with a highly individual brand of intellect.

His writing was often philosophical or scientific, but consistently funny, a distinctive style that gave rise to the term Stoppardian. It refers to the use of verbal gymnastics while addressing philosophical concepts.

“I want to demonstrate that I can make serious points by flinging a custard pie around the stage for a couple of hours,” the Czech-born Stoppard said in a 1970s interview.

“Theatre is first and foremost a recreation. But it is not just a children’s playground; it can be recreation for people who like to stretch their minds.”

Early years

Stoppard was born Tomas Straussler on July 3, 1937, in what was then Czechoslovakia, the son of Eugen Straussler, a doctor, and Marta (or Martha), nee Beckova, who had trained as a nurse.

The Jewish family fled the Nazis and moved to Singapore when he was an infant.

But Singapore also became unsafe, and, with his mother and elder brother Peter, he escaped to India. His father stayed behind and died while fleeing after Singapore fell to the Japanese.

In India, Marta Straussler married a British army major, Kenneth Stoppard, and the family moved to England.

Boarding school followed at Pocklington in Yorkshire, northern England, before Stoppard left school at age 17.

He decided not to go to university. Instead, he went straight to work as a reporter on a local newspaper in Bristol, in western England.

While he found reporting daunting, he threw himself into working as a theatre and cinema critic, and his love of drama took hold.

Award-winning career

His breakthrough came with the overnight success at the Edinburgh Festival Fringe of, Rosencrantz and Guildenstern Are Dead, a tragicomedy centred around two minor characters from Shakespeare’s, Hamlet.

It moved to London’s West End, before winning a Tony Award for best play in the United States.

“What’s it about?” was a frequent response from bemused theatre-goers about the play. Tired of being asked, Stoppard is said to have replied to a woman outside a theatre on Broadway: “It’s about to make me very rich.”

He later questioned whether he had said “very”, Hermione Lee wrote in Stoppard’s authorised biography, but he had undoubtedly managed to transform his previously precarious finances.

Indeed, Stoppard would go on to win numerous awards on both sides of the Atlantic for his work.

He was knighted in 1997, and in 2014, he was crowned “the greatest living playwright” by the London Evening Standard Theatre Awards.

To non-theatre-goers, he is best remembered for his work in cinema, which included the Indiana Jones and Star Wars franchises.

In 1999, he won an Oscar for his screenplay for, Shakespeare in Love, which scooped a total of seven Academy Awards that year.

“He has no apparent animus towards anyone or anything,” said film and theatre director Mike Nichols, who directed the Broadway premiere of Stoppard’s tale of marriage and affairs, The Real Thing.

“He’s very funny at no one’s expense. That’s not supposed to be possible.”

A 1940 self-portrait titled ‘The dream’ by famed Mexican artist Frida Kahlo has sold for $54.7m, making it the most expensive work by a female artist to sell at auction.

A 1940 self-portrait by Frida Kahlo has sold for $54.7m and made auction history at Sotheby’s in New York.

A haunting 1940 self-portrait by famed Mexican artist Frida Kahlo has sold for $54.7m, making it the most expensive work by a female artist to sell at auction.

The painting of Kahlo asleep in a bed, titled El sueno (La cama) – or in English, The Dream (The Bed) – surpassed the record held by Georgia O’Keeffe’s Jimson Weed/White Flower No 1, which sold for $44.4m in 2014.

The sale at Sotheby’s in New York on Thursday evening also topped Kahlo’s own auction record for a work by a Latin American artist.

The 1949 painting, Diego and I, depicting the artist and her husband, muralist Diego Rivera, went for $34.9m in 2021.

Her paintings are reported to have sold privately for even more.

The self-portrait that broke records on Thursday is among the few Kahlo pieces that have remained in private hands outside Mexico, where her body of work has been declared an artistic monument.

Kahlo’s works in both public and private collections within Mexico cannot be sold abroad or destroyed. Because the painting sold on Thursday comes from a private collection, it is legally eligible for international sale. Sotheby’s said the owner who put the painting up for auction – and whose identity has not been disclosed – “astutely” purchased the piece also at auction in New York in 1980.

The buyer’s identity was also not disclosed.

‘El sueño (La cama)’ by Frida Kahlo soars to $54.7 million, becoming the most valuable work by a woman artist ever sold at auction.

Painted in 1940 during a pivotal decade in her career, marked by her turbulent relationship with Diego Rivera. pic.twitter.com/t6Sni7fIKT

— Sotheby’s (@Sothebys) November 21, 2025

Some art historians had scrutinised the sale for cultural reasons, while others had raised concerns that the painting, which was last exhibited publicly in the late 1990s, could again disappear from public view after the auction.

It has already been requested for upcoming exhibitions in cities including New York, London and Brussels.

The piece depicts Kahlo asleep in a wooden, colonial-style bed that floats in the clouds. She is draped in a golden blanket and entangled in crawling vines and leaves. Above the bed lies a skeleton figure wrapped in dynamite.

Kahlo vibrantly and unsparingly depicted herself and events from her life, which was altered by a bus accident at 18.

She started to paint while bedridden, underwent a series of painful surgeries on her damaged spine and pelvis, and then wore casts until her death in 1954 at age 47.

During the years Kahlo was confined to her bed, she came to view painting as a bridge between worlds as she explored her mortality.

“I’m very proud that she’s one of the most valued women, because really, what woman doesn’t identify with Frida, or what person doesn’t?” her great-niece, Mara Romeo Kahlo, told The Associated Press news agency before the auction.

“I think everyone carries a little piece of my aunt in their heart.”

Kahlo resisted being labelled a surrealist painter, a style of art that is dreamlike and centres on a fascination with the unconscious mind.

“I never painted dreams,” she once said. “I painted my own reality.”

The new record for Kahlo’s painting came hours after a Gustav Klimt portrait sold for $236.4m, setting a new record for a modern art piece.

Klimt’s Portrait of Elisabeth Lederer sold after a 20-minute bidding war, also at Sotheby’s in New York, on Tuesday.

Brazil’s proposal

The issue is set to come to a head next week, as the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) holds its 20th meeting.

Heightened restrictions on brazilwood are scheduled to be raised for a vote at the conference.

Since 1998, the International Union for Conservation of Nature (IUCN) has classified the tree as endangered.

But a proposal authored by the Brazilian government would increase CITES protections for brazilwood, placing it in the highest tier for trade restrictions.

CITES regulates the international trade of endangered species, and it classifies animals and plants in three appendices.

The third is the least restrictive: If a species is endangered in a given country, then export permits are required from that country.

The Appendix II has tighter standards: Export permits are required from wherever the species is extracted. Most endangered species, including brazilwood, fall into this category.

But Brazil hopes to bump brazilwood up to appendix one, a category for species faced with extinction.

Trade of plants and animals in that appendix is largely banned, except for non-commercial use. But even in that case, both import and export licences are required.

In its proposal, Brazil argues the upgraded restrictions are necessary to fight the plant’s extinction.

Only about 10,000 adult brazilwood trees remain. The population has shrunk by 84 percent over the last three generations, and illegal logging has played a dominant role in that decline, according to the proposal.

“Selective extraction of Brazilwood is still active, both inside and outside protected areas,” the proposal explains.

“In all cases recently detected, the destination of these woods is the bow-making industry for musical instruments.”

It adds that “520 years of intense exploitation” have led to the “complete elimination of the species in several regions”.

One operation launched by Brazilian police in October 2018 resulted in 45 companies and bowmakers being fined.

Nearly 292,000 bows and blanks — the unfinished blocks of wood destined to become bows — were seized.

Another investigation, between 2021 and 2022, led police to conclude that an estimated $46m in profits had come from the illegal brazilwood trade.

“The majority of bows and bow blanks sold by Brazilian companies over the past 25 years probably originated from illegal sources,” Brazil wrote in its proposal.

In the quiet of his Ramallah studio in the occupied West Bank, Palestinian artist Nabil Anani works diligently on artworks deeply rooted in a movement he helped create during the political tumult of the late 1980s.

Cofounded in 1987 by Anani and fellow artists Sliman Mansour, Vera Tamari and Tayseer Barakat, the New Visions art movement focused on using local natural materials while eschewing Israeli supplies as a form of cultural resistance. The movement prioritised self-sufficiency at a time of deep political upheaval across occupied Palestine.

“[New Visions] emerged as a response to the conditions of the Intifada,” Anani said. “Ideas like boycott and self-reliance inspired a shift in our artistic practice at the time.”

Each of the founding members chose to work with a specific material, developing new artistic styles that fit the spirit of the time. The idea caught on, and many exhibitions followed locally, regionally and internationally.

Nearly four decades later, the principles of New Visions – self-sufficiency, resistance and creation despite scarcity – continue to shape a new generation of Palestinian artists for whom making art is both an expression and an act of survival.

Anani, now 82, and the other founding members are helping keep the movement’s legacy alive.

Why ‘New Visions’?

“We called it New Visions because, at its core, the movement embraced experimentation, especially through the use of local materials,” Anani said, noting how he had discovered the richness of sheepskins, their textures and tones and began integrating them into his art in evocative ways.

In 2002, Tamari, now 80, started planting ceramic olive trees for every real one an Israeli settler burned down to form a sculptural installation called Tale of a Tree. Later, she layered watercolours over ceramic pieces, mediums that usually do not mix, defying the usual limits of each material, and melded in elements of family photos, local landscapes and politics.

Sixty-six-year-old Barakat, meanwhile, created his own pigments and then began burning forms into wood, transforming surface damage into a visual language.

“Other artists began to embrace earth, leather, natural dyes – even the brokenness of materials as part of the story,” Mansour, 78, said, adding that he had personally reached a kind of “dead end” with his work before the New Visions movement emerged, spending years creating works centred around national symbols and identity that had started to feel repetitive.

“This was different. I remember being anxious at first, worried about the cracks in the clay I was using,” he said, referring to his use of mud. “But, in time, I saw the symbolism in those cracks. They carried something honest and powerful.”

In 2006, the group helped create the International Academy of Art Palestine in Ramallah, which was open for 10 years before being integrated into Birzeit University as the Faculty of Art, Music and Design. The academy’s main goal was to help artists transition from older ways of thinking to more contemporary approaches, particularly by using local and diverse materials.

“A new generation emerged from this, raised on these ideas, and went on to hold numerous exhibitions, both locally and internationally, all influenced by the New Visions movement,” Anani said.

A legacy maintained but tested

The work of Lara Salous, a 36-year-old Palestinian artist and designer based in Ramallah, echoes the founding principles of the movement.

“I am inspired by [the movement’s] collective mission. My insistence on using local materials comes from my belief that we must liberate and decolonise our economy.”

“We need to rely on our natural resources and production, go back to the land, boycott Israeli products and support our local industries,” Salous said.

Through Woolwoman, her social enterprise, Salous works with local materials and a community of shepherds, wool weavers and carpenters to create contemporary furniture, like wool and loom chairs, inspired by ancient Bedouin techniques.

But challenges like the increasing number of roadblocks and escalating settler violence against Palestinian Bedouin communities, who rely on sheep grazing as a basic source of income, have made working and living as an artist in the West Bank increasingly difficult.

“I collaborate with shepherds and women who spin wool in al-Auja and Masafer Yatta,” said Salous, referring to two rural West Bank areas facing intense pressure from occupation and settlement expansion.

“These communities face daily confrontations with Israeli settlers who often target their sheep, prevent grazing, cut off water sources like the al-Auja Spring, demolish wells and even steal livestock,” she added.

In July, the Reuters news agency reported an incident in the West Bank’s Jordan Valley, where settlers killed 117 sheep and stole hundreds of others in an overnight attack on one such community.

Such danger leaves Palestinian women who depend on Woolwoman for their livelihoods vulnerable. Several female weavers working with Salous and supporting her enterprise have become their families’ sole breadwinners, especially after their spouses lost jobs due to Israeli work permit bans following the Hamas-led attacks on southern Israel on October 7, 2023, and the start of the Gaza war.

Visiting the communities where these wool suppliers live has become nearly impossible for Salous, who fears attacks by Israeli settlers.

Meanwhile, her collaborators must often prioritise their own safety and the protection of their villages, which disrupts their ability to produce wool to sustain their livelihoods.

As a result, the designer has faced delays and supply chain issues, making completing and selling her works increasingly difficult.

Anani faces similar challenges in procuring hides.

“Even in cities like Ramallah or Bethlehem, where the situation might be slightly more stable, there are serious difficulties, especially in accessing materials and moving around,” he said.

“I work with sheepskin, but getting it from Hebron is extremely difficult due to roadblocks and movement restrictions.”

Creating vs surviving

In Gaza, Hussein al-Jerjawi, an 18-year-old artist from the Remal neighbourhood of Gaza City, is also inspired by the New Visions movement’s legacy and meaning, noting that Mansour’s “style in expressing the [conditions of the occupation]” has inspired him.

Due to a lack of materials like canvases, which are scarce and expensive, al-Jerjawi has repurposed flour bags distributed by the United Nations agency for Palestinian refugees (UNRWA) as canvases for creating his artwork, using wall paint or simple pens and pencils to create portraits of the world around him.

In July, however, the artist said flour bags were no longer available due to Israel’s blockade of food and aid into the Gaza Strip.

“There are no flour bags in Gaza, but I’m still considering buying empty bags to complete my drawings,” he said.

Gaza-born artist Hazem Harb, who now lives in Dubai, also credits the New Visions movement as a constant source of inspiration throughout his decades-long career.

“The New Visions movement encourages artists to push boundaries and challenge conventional forms, and I strive to embody this spirit in my work,” he said while noting that it has been challenging to source the materials from Gaza that he needs for his work.

“The ongoing occupation often disrupts supply chains, making it difficult to obtain the necessary materials for my work. I often relied on local resources and found objects, creatively repurposing materials to convey my message.”

Anani, who said the conditions in Gaza make it nearly impossible to access local material, added that many artists are struggling but still strive to make art with whatever they can.

“I believe artists [in Gaza] are using whatever’s available – burned objects, sand, basic things from their environment,” Anani said.

“Still, they are continuing to create in simple ways that reflect this harsh moment.”

The British street artist has created several versions of the iconic painting across London, as well as in Palestine.

A man has been sentenced to 13 months in prison by a British court for stealing a print of street artist Banksy’s iconic Girl with Balloon from a London gallery in September last year.

Larry Fraser, 49, was jailed on Friday by a judge in southwest London after he pleaded guilty to the smash-and-grab burglary of the elusive artist’s painting, valued at 270,000 pounds ($355,200).

Despite trying to conceal his identity with a mask, Fraser was caught on camera, and police tracked him down two days after the theft. The artwork was recovered shortly afterwards, according to London’s Metropolitan Police.

“This is a brazen and serious non-domestic burglary,” said Judge Anne Brown, passing the sentence at Kingston Crown Court.

The Girl with Balloon first appeared on the streets of London’s Shoreditch neighbourhood in 2002, with Banksy creating versions of the painting on London’s South Bank in 2004 and in the occupied West Bank in 2005.

One version of the painting shredded itself into pieces the moment after it was sold for more than one million British pounds ($1.3m) by London auction house Sotheby’s in 2018.

Detective Chief Inspector Scott Mather said: “Banksy’s ‘Girl with Balloon’ is known across the world – and we reacted immediately to not just bring Fraser to justice but also reunite the artwork with the gallery.”

Banksy’s paintings in Palestine

The secretive British street artist has returned to Palestine on multiple occasions to create artworks, including a version of the girl with the red balloon.

In 2005, he sprayed nine stencilled images at different locations along the illegal, eight-metre-high (26-foot) separation wall that Israel has constructed in the occupied West Bank.

They included a ladder reaching over the wall, a young girl being carried over it by balloons and a window on the grey concrete showing beautiful mountains in the background.

In 2007, he painted a number of artworks in Bethlehem, including a young girl frisking an Israeli soldier pinned up against a wall.

In February 2015, he allegedly sneaked into the Gaza Strip through a smuggling tunnel and painted three works on the walls of Gaza homes destroyed in Israeli air strikes during the previous year’s conflict.

In 2017, he opened the Walled Off Hotel in Bethlehem, just four metres from Israel’s separation wall.

Earlier this year, authorities attempted to scrub a Banksy painting on a London court wall that depicted a judge hitting a protester and was believed to refer to the country’s crackdown on the Palestine Action protest group.

Banksy rose to fame for sharply ironic outdoor graffiti with political themes. Once a small-time graffiti artist from the English city of Bristol, his artwork has become hugely popular worldwide and valuable.

Hungarian-British writer David Szalay has won the prestigious Booker prize for his novel Flesh, which tells the story of a tortured Hungarian emigre who makes and loses a fortune.

Szalay, 51, beat five other shortlisted authors, including Indian novelist Kiran Desai and the United Kingdom’s Andrew Miller, to claim the 50,000 British pound ($65,500) award at a ceremony in London on Monday.

Written in spare prose, Slazay’s book recounts the life of taciturn Istvan, from a teenage relationship with an older woman through time as a struggling immigrant in the UK to a denizen of London high society.

“A meditation on class, power, intimacy, migration and masculinity, Flesh is a compelling portrait of one man, and the formative experiences that can reverberate across a lifetime,” organisers of the award ceremony in London said in a statement.

Accepting his trophy at London’s Old Billingsgate, Szalay thanked the judges for rewarding his “risky” novel.

He recalled asking his editor “whether she could imagine a novel called ‘Flesh’ winning the Booker Prize”.

“You have your answer,” he said.

In addition to the 50,000-pound ($67,000) prize for the winner, as well as 2,500-pound awards to each of the shortlisted authors and translators, the writers also gain a boost in popularity and benefit from increased book sales.

Szalay’s book was chosen from 153 submitted novels by a judging panel that included Irish writer Roddy Doyle and Sex and the City actor Sarah Jessica Parker.

Doyle said that Flesh, a book “about living, and the strangeness of living”, emerged as the judges’ unanimous choice after a five-hour meeting.

“We had never read anything quite like it. It is, in many ways, a dark book but it is a joy to read,” said Doyle in a statement.

“I don’t think I’ve read a novel that uses the white space on the page so well. It’s as if the author … is inviting the reader to fill the space, to observe – almost to create – the character with him.”

Szalay, who was born in Canada, raised in the UK and lives in Vienna, was previously a Booker finalist in 2016 for All That Man Is, a series of stories about nine wildly different men.

Flesh was Szalay’s sixth work of fiction.

“Even though my father is Hungarian, I never felt entirely at home in Hungary. I suppose, I’m always a bit of an outsider there, and living away from the UK and London for so many years, I also had a similar feeling about London,” Szalay told BBC Radio.

“I really wanted to write a book that stretched between Hungary and London and involved a character who was not quite at home in either place.”

The frontrunners for this year’s prize, according to betting markets, were Miller for his early-1960s domestic drama The Land in Winter, and Desai for the globe-spanning saga The Loneliness of Sonia and Sunny, her first novel since The Inheritance of Loss, which won the Booker Prize in 2006.

The other finalists were Susan Choi’s twisty family saga, Flashlight; Katie Kitamura’s tale of acting and identity, Audition; and Ben Markovits’s midlife-crisis road trip, The Rest of Our Lives.

The Booker Prize was founded in 1969 and has established a reputation for transforming writers’ careers.

Its winners have included Salman Rushdie, Ian McEwan, Arundhati Roy, Margaret Atwood and Samantha Harvey, who took the 2024 prize for space station story, Orbital.

The separate category of the International Booker Prize was awarded in May to Indian writer and activist Banu Mushtaq for her novel, Heart Lamp, which tells 12 stories of the everyday lives of women and girls in Muslim communities in southern India.