On Monday, the U.S. Department of Agriculture (USDA) announced it would "make $8 billion available for one-time payments to American farmers this harvest season to provide relief during temporary market disruptions and increased input costs."

Using a formula derived from the USDA's production, yield, and price estimates, the Harvest Fuel Relief program will "provide simple, proportional support to producers." It will only cover a "portion of modeled losses during the 2026 crop year." The Farm Service Agency—an office within the USDA that administers credit and loan programs—will administer the $8 billion in one-time payments using funds from the Commodity Credit Corporation, a federal entity authorized to draw up to $30 billion from the U.S. Treasury to fund agricultural initiatives. Payment rates won't be released until November, and the USDA's notice leaves open the possibility of additional payments for "non-Title I commodities, including specialty crop growers and fishermen."

A fiscally questionable decision, the program comes at a time when farmers are feeling a significant price pinch. The dyed diesel American farmers and ranchers use is exempt from state and federal highway taxes, but that has done little to offset skyrocketing fuel prices. In September, the American Farm Bureau Federation projected that fuel expenses would reach $22 billion this year, up 29 percent from 2025. The Farm Bureau estimates that total production expenses will reach nearly $500 billion in 2026. According to its own predictions, the USDA doesn't expect the situation to improve anytime soon.

In its latest Commodity Costs and Returns report, released in June, the USDA projects farmers and ranchers will face record production costs in 2027—higher than during the COVID-19 supply chain disruptions—driven by higher prices for necessary inputs such as fuel, fertilizer, seeds, machinery, and labor. 

While the USDA has blamed "temporary market disruptions" for these cost hikes, the blame more accurately falls to President Donald Trump, thanks to his illegal war in Iran. As of Tuesday, Trump's war—and the subsequent shocks it has caused to the global diesel supply—have pushed the national average price in the U.S. up $2.70 per gallon from a year ago, a 74.6 percent increase, according to AAA data.

Unfortunately, the war in Iran is just one of several Trump administration policies making life more expensive for everyone, including the nation's farmers and ranchers. Tariffs on imported fertilizer, which began in 2020 during the first Trump administration, have made it difficult for American farmers to afford what they need. By the Farm Bureau's estimates, fertilizer costs for 2026 are projected to reach a record $40 billion, up 15 percent from the previous year.

The $8 billion program is part of a windfall of taxpayer money the Trump administration has sent to farmers as relief for harms caused by the president's actions. Last December, the USDA sent $11 billion in one-time bridge payments to more than half a million farmers nationwide. Earlier this month, the USDA announced it would provide a record $13.8 billion in gross payments to agricultural producers to cover revenue losses. 

In a speech in Kansas touting the program, Trump claimed that the state's residents would see a "plunge" in prices once the war ends. That's likely an exaggeration, given the host of questionable economic policies he seems hell-bent on implementing. 

Still, that shouldn't discredit the president's suggestion. Ending the war would benefit farmers, ranchers, and consumers, without doling out billions in another government bailout for a favored industry.

The post Trump's $8 Billion Diesel Bailout Pays Farmers for a Problem He Created appeared first on Reason Magazine.

On Monday, a group of students from the University of Chicago stood outside the Chicago Mercantile Exchange—one of the world's largest and most diverse derivatives marketplaces—and called for the repeal of an obscure 1958 law that bans onions as futures products traded on U.S. exchanges. 

Attracting an audience with a humorous jingle and amusing signs that included "Onions Deserve a Future," "Honk If You Want Free Onions," "Hot Girls Hedge Onions," and "Free Markets Feed Families," the student group, named For Our Futures, has a simple platform: a repeal of the 1958 Onion Futures Act, which prohibits anyone from trading in onion futures on commodity exchanges. (The law was amended in 2010 to ban motion picture box office receipts from being traded on commodity exchanges.) The viral campaign drew enough attention that Mike Selig—chairman of the Commodity Futures Trading Commission and a proponent of expanding the list of commodities traded on futures markets—was asked about the law in a media appearance. 

American farmers produce about 6.75 billion pounds of onions a year, according to the National Onion Association, an industry trade group. While peers who grow cotton, wheat, corn, and soybeans can hedge against price swings by trading futures contracts, onion farmers have no such recourse under federal law. But, as the Agriculture Department's daily National Potato and Onion Report shows, onion prices are highly volatile and subject to wild swings, making them an ideal market for futures trading. 

In its latest report, released Monday, the agency shows that onion prices have roughly doubled since this time last year. If onion futures contracts were legal, farmers could rely on market expectations instead of planting crops based on last year's prices. It would also let buyers potentially cut costs by locking in lower prices to protect against spikes. Trading onion futures contracts would give the industry a useful price-discovery tool, one that the student group aptly notes is "crucial for price stability and for hedging risks associated with weather and market fluctuations."

It's not For Our Futures' first time trying this gambit. The student group staged similar protests at college campuses in April and May, armed with bags of raw onions to entice passersby into signing their petition to legalize onion futures. The students' crusade might be comical, but after a recent Gallup poll found that 57 percent of Americans age 18–34 have a positive image of socialism, it's encouraging to see college-age students stand up for free markets.

A protest over onions sounds absurd, but it's a viral reminder to others in that age cohort of how far governments can go when given the slightest leeway to regulate an industry.

Instead of relying on outdated price points when planning future harvests, American onion producers could use resources like futures contracts that offer real-time market signals. All that would require—as the college kids state—is for federal lawmakers to "let the free market reign supreme."

The post You Can Trade Contracts on Elections, but Not on Onions. These College Students Want To Fix That. appeared first on Reason Magazine.

Hysteria over the agent's appearance in a 7,500-person group reveals that internet experts have outdated notions of privacy.

The highly coveted Michelin Guide stars, shining over Athens and Santorini, have just been announced. Greece now boasts a total of 21 stars across the regions currently covered by the guide. The prestigious Michelin stars for Greece have been announced. Beyond Athens, the famous guide’s inspectors have now also visited Santorini and Thessaloniki. In fact, […]

The post Michelin stars: Greece’s gastronomy boasts with 21 stars in three regions appeared first on Keep Talking Greece.

Olivia Colman goes vulpine, Rupert Grint’s newborn is a monster and Joko Anwar makes a warmhearted violent ghost story set in an Indonesian prison

If I’d ever wanted children, the films showing at the 59th edition of the International Fantastic film festival of Catalonia in the coastal town of Sitges, south of Barcelona, would have soon set me straight. This year’s recurring themes were explosive parturition, chewed-up nipples and the fruit of the womb turning out to be at best sociopathic, at worst inhuman.

The theme was celebrated in an evil-kiddy exhibition at the Miramar Cultural Centre, marking the 50th anniversary of Narciso Ibáñez Serrador’s “fantaterror” classic Who Can Kill a Child?, some of which was filmed in Sitges itself. The expo traced the subgenre from 1956’s The Bad Seed, via Rosemary’s Baby and The Exorcist, to this year’s Nightborn, in which poor Rupert Grint, as the hapless husband, is no match for the developing folk-horror bond between his depressed wife, their newborn “child”, and the spooky forest surrounding their house. Finnish director Hanna Bergholm, in her introduction, confessed it was inspired by her experiences of motherhood. Only up to a point, one hopes.

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© Photograph: Andrea Miconi

© Photograph: Andrea Miconi

© Photograph: Andrea Miconi

Mary Anne Franks has spent years fighting against online abuse. When people are abused with impunity, she says, the message becomes “We do not care about women’s voices.”

The internet told them Europe was a social paradise. Turns out the trains are awful, the health care isn’t free, and people can be really mean.

The comedian sees being online as similar to visiting the zoo. “I don’t need to interact with that,” he says. “It’s just a thing that I enjoy, and then I walk away.”

Little-known photographer John Baer captured everyday life before putting down his camera in 1954. His son discovered the images decades later after his death, and John Baer: The Extraordinary Ordinary / A Memoir in Photographs, 1945–1954 marks their first public release

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© Photograph: Photograph by John Baer

© Photograph: Photograph by John Baer

© Photograph: Photograph by John Baer

European Union governments have agreed a negotiating position on new agricultural market rules intended to take effect under the bloc’s 2028–2034 budget, advancing reforms to support arrangements for farmers while leaving the most contentious financial questions unresolved.

The Council approved its partial negotiating mandate on Monday, 19 October, covering changes to the Common Market Organisation regulation, which governs agricultural markets across the European Union.

The proposals include new arrangements for wine producers, protein crops and oilseeds, revised marketing standards, changes to the EU school food programme and provisions intended to improve preparedness for agricultural market disruptions.

However, the agreement does not settle future funding allocations or the broader structure of agricultural subsidies, which remain under negotiation as EU governments attempt to reconcile farming expenditure with competing demands for defence, industrial investment and regional development.

Agricultural markets under review

The Council’s negotiating position retains much of the European Commission’s original proposal while introducing amendments intended to accommodate national differences in agricultural production.

Under the proposed arrangements, sector-specific interventions would become mandatory in several areas, including beekeeping, fruit and vegetables and, under certain circumstances, wine production.

The Council has also proposed flexibility for countries where particular sectors are absent or relatively undeveloped.

For the wine industry, governments would be able to seek exemptions from certain obligations where national circumstances justify different arrangements.

This would allow the framework to retain common European rules while avoiding requirements that would be inappropriate for member states with little or no domestic wine production.

Sectoral interventions form part of the mechanisms through which the EU supports agricultural markets and producer organisations. They can cover measures intended to improve competitiveness, manage production and strengthen farmers’ commercial position.

New provisions for protein crops

The Council has endorsed the establishment of a separate sector for protein crops and oilseeds, replacing existing provisions covering dried fodder.

The objective is to encourage domestic production and reduce dependence on imported agricultural inputs, particularly crops used in animal feed and food production.

European livestock producers rely on protein-rich feed ingredients, including soyabeans, that are often sourced internationally.

Greater domestic production could reduce exposure to fluctuations in global commodity prices, transport costs and disruptions to international supply chains.

Under the Council’s proposal, member states would be encouraged to recognise producer organisations specialising in protein crops and oilseeds.

Such organisations can help farmers coordinate production, marketing and investment, although the effectiveness of the proposed measures will depend on how they are implemented nationally.

The proposals follow broader EU efforts to improve supply security in sectors extending from agricultural inputs to critical industrial materials.

School food and product labelling

The negotiating mandate also preserves the EU school scheme, which provides support for the distribution of fruit, vegetables and milk to schoolchildren.

Under the proposed framework, the programme would move from a school-year financing cycle to a calendar-year system, with transitional provisions intended to prevent disruption during implementation.

The Council has maintained the Commission’s objective of encouraging healthier eating habits by limiting products containing high levels of free sugars and fats.

The proposal also opens the possibility of additional marketing standards for several agricultural products, including protein crops, beef, pork, sheepmeat, goatmeat and rice.

These standards could provide consumers with more detailed information about product origins, subject to the final legislation.

Such measures would also have implications for producers and food businesses, which would need to comply with any new requirements concerning classification, marketing and labelling.

The Council additionally supports the harmonisation of rules covering industrial hemp, while retaining safeguards concerning seed certification and the permitted level of tetrahydrocannabinol.

Farming subsidies remain contested

The agricultural market agreement forms part of negotiations over the next Common Agricultural Policy, which will operate within the EU’s new seven-year financial framework.

Under the Commission’s proposed budget structure, several funding streams, including agricultural and cohesion programmes, would be brought together within national and regional partnership plans.

The restructuring has encountered opposition from governments and agricultural interests concerned that farming could lose protected access to EU funding.

As EU Today previously reported, 17 member states have called for agricultural and regional development expenditure to be protected against further reductions.

The Council’s latest position addresses how agricultural markets should operate rather than determining the size of the financial support available to them.

A separate debate concerns the conditions for receiving direct farm payments, including the definition of an active farmer and the degree of discretion granted to national governments.

Those questions remain central to the continuing CAP negotiations, which are due to return to the Agriculture and Fisheries Council on 26–27 October.

Negotiations move to Parliament

The Council’s partial mandate now provides a basis for negotiations with the European Parliament on the agricultural market provisions.

The legislation will still require agreement between the institutions, while its financing will depend on the eventual settlement of the 2028–2034 budget.

Governments must also complete negotiations on the wider CAP framework, including direct income support and the distribution of responsibility between Brussels and national administrations.

The market agreement reached on 19 October therefore establishes important elements of the proposed agricultural rules, but leaves unresolved the level of financial support available to European farmers after 2027.

Berlin is host to a major exhibition on the founder of the Mongol Empire and his successors. Here's how Genghis Khan disrupted the course of history.

Subject to Change: A Dance for David Bowie will explore how the musician ‘practised a form of artistic reincarnation’, says choreographer Marcos Morau

‘Let’s dance,” sang David Bowie in 1983, commanding: “Put on your red shoes and dance the blues.” That call is to be answered – with footwear TBC – by an international dance production featuring new choral arrangements of songs from throughout his career.

Subject to Change: A Dance for David Bowie will be staged at Sadler’s Wells in London in autumn 2028 after a world premiere in Luxembourg. It will visit Tokyo in 2029. The show will explore how Bowie “practised a form of artistic reincarnation” according to Spanish choreographer Marcos Morau who is taking inspiration from the superstar’s transformations into personas such as Aladdin Sane and the Thin White Duke.

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© Photograph: Ilpo Musto/Alamy

© Photograph: Ilpo Musto/Alamy

© Photograph: Ilpo Musto/Alamy

As protests ripple through big cities across the continent, a quieter, more forgotten population at Europe’s edge sits through weeks of strikes and blockades, while largely ignored. 

Italy’s southern regions of Puglia, Calabria, Sicily, Molise and Basilicata are facing empty supermarket shelves and plummeting fuel supplies since transport and agriculture workers have been protesting against climbing costs of living. 

Entire sectors have been put on pause due to the excessive costs it now takes to run them, from delivering food goods to producing them, for unbalanced competition with foreign suppliers and sustained neglect from Rome. 

While protestors in large cities like Milan and Bologna joined a European choir of protests fighting unaffordable housing last weekend, truck drivers from Bari to Palermo have joined in blocking roads to important ports and highways connecting isolated southern regions, and denouncing the outrageous costs of fertilisers, seeds, and fuel for tractors and transport for over two weeks.

“For us, and for the community, it’s become impossible to face the costs of fuel,” Luigi Di Benedetto, manager of an agriculture company in Caltagirone, Sicily, told EUobserver. 

“Italy import products that do not meet legal specifications,” he said, echoing the worries of his colleagues and fellow protestors, since the market was flooded with cheaper foreign imports, which have left them unable to pay the bills.

This article continues, but the full version is available only to EUobserver.com subscribers. Visit account.euobserver.com/membership

The codirector of “You Can See Everything” talks exclusively to WIRED about truth, lies, and Theranos.

Anders Fernstedt lives in London without any money. The Swedish native has built a most unusual home under the porch of a house worth over €200 million. How did that happen?

For over four centuries, one play has stood apart from the official canon of William Shakespeare. It was published without an author’s name, and for decades, scholars have debated who wrote the text. Now, a new computer-based study offers a surprising answer. *Edward III* was likely the work of two of Elizabethan England’s greatest playwrights: […]

In Bengal, worship, carnival, and art share the same streets for a few days each autumn. Durga Puja has not erased caste or commerce, but it shows how a society can hold the sacred and the secular in one public space.

The UK government has returned to an issue musicians have been discussing since Brexit: how to make working in Europe easier again.

Its new music strategy, Turn It Up: Our Plan for Music, refers to the first high-level meeting on culture between the UK and the European Commission, held back in March, and promises continued work to reduce the barriers faced by British artists touring the EU.

The timing is significant. The UK is preparing to rejoin Erasmus+ in 2027, while London and Brussels are pursuing a broader reset of post-Brexit relations.

Music offers an interesting test of that reset. The UK has left the European Union, but its musicians have not become any less European.

British performers still tour the continent, while European musicians continue to work in British orchestras. The musical ecosystem survived Brexit. Navigating it became considerably more difficult.

A UK government study estimates that additional barriers to EU touring between 2022 and 2024 cost Britain £208m in lost economic output and the equivalent of 2,490 full-time jobs.

A Musicians’ Union survey found that, among musicians who had previously worked in the EU, 75 percent reported fewer bookings and 72 percent lower EU income.

More than half said EU touring was no longer financially viable.

But music reveals something more interesting than another item on the list of Brexit consequences. Brexit drew a political border through a professional community that had operated internationally for centuries.

Musicians were ‘European’ before EU

European musical mobility did not begin with freedom of movement. In the early 19th century, theatre companies crossed linguistic and political borders. Imperial Russia accommodated French and German theatrical companies alongside Russian performers, while Italian opera was embedded in its musical life.

Individual musicians were equally mobile. John Field, the Irish pianist and composer at the centre of my own research, trained in London before spending most of his adult career in the Russian Empire. The German pianist Adolf Henselt settled there and became deeply involved in Russian musical education.

These were not exceptions: musical life itself was international. The EU did not invent that circulation. European integration merely made it administratively easier. 

Brexit did not make British musicians unwelcome in Europe, or European musicians unwelcome in Britain. It changed the cost of maintaining those relationships.

For an international star with professional support, another permit can be an inconvenience. For a young ensemble deciding whether four European concerts are financially viable, it can determine whether the tour happens at all.

The border appears before the first tour

The consequences begin before professional life. A conservatoire is not simply somewhere a musician obtains a qualification. It is where professional relationships form. A student may meet a future ensemble partner, while an exchange can produce an opportunity years later.

The post-Brexit figures are striking. The number of new EU students entering UK higher education fell from 66,685 in 2020–21 to 28,375 in 2023–24 — a decline of around 57 percent, according to figures based on HESA data.

Britain’s Turing Scheme supported outward mobility, but did not reproduce Erasmus+’s reciprocal structure.

The UK’s return to Erasmus+ in 2027 therefore matters beyond universities. In music, today’s exchange student can become tomorrow’s professional collaborator.

Meanwhile, Brussels is actively spending money to encourage cultural mobility. Creative Europe has a €2.44bn budget for 2021–27. Its Pan-European Cultural Entities programme specifically supports orchestras working across borders to develop young musicians: around €11m was allocated to five projects in 2024, expected to involve more than 1,000 young musicians from at least 20 participating countries. The policy assumption is revealing: movement itself creates value.

Put musicians into the reset

At the 2025 UK-EU summit, London and Brussels explicitly recognised “the value of travel and cultural and artistic exchanges, including the activities of touring artists.”

The new high-level cultural dialogue provides a forum to turn that promise into policy. Cultural mobility should become a permanent part of the UK-EU reset.

London and Brussels should use the dialogue to identify touring requirements that can realistically be simplified and work with member states towards greater consistency for short-term cultural engagements.

Emerging artists should also be explicitly considered in the proposed Youth Experience Scheme. The commission’s original proposal envisaged a time-limited route for people aged 18 to 30 to live on the other side of the English Channel. Paid cultural work should be clearly accommodated in whatever agreement emerges.

A 24-year-old violinist should not discover that a programme intended to restore opportunities for young Europeans works perfectly until somebody pays her to perform.

None of this means recreating freedom of movement through the orchestra pit. Britain chose to leave the EU and cannot expect every privilege of membership.

The argument is more practical. British and European cultural industries remain intertwined, and unnecessary friction is most expensive for those least able to absorb it. Major institutions employ administrators. International stars have managers. A young quartet may have four instruments and a group chat.

Two centuries ago, Field travelled from Ireland through London and built a career in Russia. Henselt left Germany and became part of Russian musical education. They did so long before Eurostar, Erasmus+ or Creative Europe.

Two hundred years later, crossing the continent is faster. Building a European career need not become harder. The UK has left the EU. Its musicians have not left European musical life.

As London and Brussels shape their new relationship, cultural mobility should be treated as part of its infrastructure. Musicians will continue to cross the Channel. The question is how costly we choose to make it.

A 500-year-old religious triptych by Andrea Previtali has been brought together for the first time in almost two centuries. The reunion forms the centrepiece of a new exhibition examining the painter’s place in the Venetian Renaissance.

Three panels of a Renaissance altarpiece, separated for almost 200 years, have been reunited in Italy for an exhibition opening on Saturday, 17th October, offering visitors a rare opportunity to see a work by Andrea Previtali in its original arrangement.

The painting, created around 1515 for the Church of the Annunciation in Serina, near Bergamo, has been reconstructed through cooperation between the Diocese of Bergamo and the Museo Villa Bassi Rathgeb in Abano Terme, close to Padua. One panel, depicting a bishop saint, belongs to the museum’s permanent collection, while the remaining two have been brought together for the exhibition.

The reunion was confirmed on 16 October by Italy’s Ministry of Culture heritage authority. It forms the central attraction of Andrea Previtali: Disciple of Giovanni Bellini, which runs until 7th February 2027 and examines the career of a painter who worked between two important artistic centres of Renaissance Italy.

Reconstructing a Renaissance Altarpiece

The three panels originally formed a triptych, a type of religious painting consisting of a central image flanked by two wings. Such works were commissioned for churches and private chapels, where they served as devotional objects and demonstrations of the artistic ambitions of their patrons.

Over succeeding centuries, many Renaissance altarpieces were dismantled, removed from their original settings or dispersed among private collections and museums. Their individual panels could subsequently be displayed as independent works, losing much of the relationship between the images originally intended by the artist.

The Previtali triptych provides an example of how those connections can be recovered.

The Museo Villa Bassi Rathgeb holds the panel depicting a bishop saint as part of the collection assembled by Roberto Bassi Rathgeb, an art historian and collector who contributed to renewed scholarly interest in Previtali.

His collection, donated to the municipality of Abano Terme between 1972 and 1980, contains important examples of painting from the Bergamo and Brescia schools.

The collaboration with the Diocese of Bergamo has now made it possible to display the bishop saint alongside the two surviving companion panels from the original altarpiece. Their reunion allows the work to be studied as a complete composition rather than as three separate paintings.

It also offers an opportunity to reassess Previtali’s decisions concerning the relationship between figures, religious symbolism and the architectural arrangement of devotional paintings.

A Pupil of Giovanni Bellini

Andrea Previtali was born around 1480 in Valle Imagna, in the territory of Bergamo, before moving to Venice, where he entered the workshop of Giovanni Bellini.

Bellini was among the most influential painters of the Venetian Renaissance, known for his treatment of colour, light and religious subjects. His workshop trained artists who would help establish the distinctive visual language of sixteenth-century Venetian painting.

Previtali’s connection to his master is documented in an inscription on his 1502 painting Madonna and Child with Donor, now held by the Musei Civici di Padova.

The artist described himself as a pupil of Giovanni Bellini, a declaration that has become an important piece of evidence for reconstructing his early career.

The new exhibition explores that relationship by displaying works by Previtali alongside paintings associated with the artistic environment in which he trained.

Among the loans is Bellini’s Saint Justina, from the Museo Bagatti Valsecchi in Milan. Although painted before Previtali’s mature career, it demonstrates the treatment of sacred figures, colour and composition that influenced succeeding generations.

The exhibition also includes works connected with Francesco Bissolo, Girolamo da Santacroce, Palma il Vecchio and Giovanni Busi, known as Cariani.

Together, they illustrate the movement of artistic ideas between Venice, Bergamo and Brescia during a period in which painters increasingly travelled between workshops, cities and patrons.

Venice, Bergamo and the Changing Renaissance

Previtali’s career developed at a time when the artistic traditions of northern Italy were undergoing considerable change.

The Venetian school placed particular emphasis on colour and atmosphere, while painters working in Lombardy drew on different approaches to portraiture, religious narrative and landscape.

Previtali’s paintings reflect both traditions. His subjects included Madonnas, religious gatherings, portraits and landscapes, often combining carefully observed human figures with detailed natural backgrounds.

After returning to Bergamo, he encountered the work of Lorenzo Lotto, whose approach to portraiture and religious painting introduced further stylistic developments.

The exhibition therefore examines Previtali not simply as a follower of Bellini, but as an artist whose work developed through exchanges between different regional schools.

It also includes Renaissance portraits, among them a painting on loan from the Accademia dei Concordi in Rovigo.

A separate section examines the practical techniques employed in Renaissance workshops, using physical and digital displays to explain how artists prepared, constructed and completed their paintings.

Such research has become increasingly important in the study and preservation of Europe’s Old Master paintings, allowing historians to reconstruct relationships between works that have survived in different institutions.

The restoration and presentation of historic collections also forms part of the wider debate about protecting Europe’s cultural heritage.

The Previtali exhibition has been organised by the municipality of Abano Terme in cooperation with the University of Padua and the Italian heritage authorities. It is curated by Raffaele Campion and Barbara Maria Savy.

Visitors will be able to see the reunited triptych at the Museo Villa Bassi Rathgeb from 17th October until 7th February 2027. The exhibition provides a rare chance to examine the three panels together and to understand how a religious commission created more than five centuries ago fitted into the artistic culture of Renaissance northern Italy.

A new exhibition in Belgium brings together a 1956 painting by Paul Delvaux and its original preparatory drawing, revealing how the artist transformed his composition and concealed elements beneath the finished work.

Scientific examination of a painting by Belgian surrealist Paul Delvaux has revealed significant changes to its original composition, including figures and other details concealed beneath layers of paint. The findings are being presented in a new exhibition opening on 16 October at Musée L in Louvain-la-Neuve.

The exhibition, La Ville lunaire II: The Hidden Side of Paul Delvaux’s Painting, examines a work completed in 1956 and held in the museum’s permanent collection. Through X-ray imaging, infrared reflectography and ultraviolet examination, researchers have been able to investigate the artist’s working methods and compare the finished painting with an original preparatory drawing.

The exhibition, which runs until 7 February 2027, follows the acquisition of the drawing by the King Baudouin Foundation in 2024. Its subsequent deposit at Musée L has made it possible to examine the two works together and reconstruct the development of a composition that underwent substantial alterations.

A Painting Concealing Its Own History

Completed in June 1956, La Ville lunaire II depicts a mysterious nocturnal landscape, with a long avenue, buildings, streetlamps and figures arranged within an unsettling architectural setting.

The painting measures approximately 89 by 139 centimetres and was executed in oil on a fibreboard panel. It entered the museum’s collection in 1990 through a bequest from Dr Charles Delsemme.

Its carefully constructed perspective and unusual treatment of space reflect Delvaux’s interest in creating scenes that appear familiar while remaining detached from ordinary reality.

The museum’s collection records describe the work as a strange nocturnal landscape, with wooden barriers and a sequence of streetlamps establishing its distinctive spatial arrangement.

Yet the painting visible today differs considerably from the composition Delvaux originally envisaged.

Earlier technical examinations had already established that important details were covered during the painting process. The new exhibition brings those findings into direct comparison with the preparatory drawing, enabling visitors to see how the artist’s intentions changed.

An auction catalogue published in 2024 identified several elements present in the drawing and concealed in the painting, including a moon in the right-hand sky, a seated figure on the right and two figures wearing robes near the centre.

These changes are significant because they suggest that Delvaux did more than adjust minor details. He altered the population and lighting of the scene, potentially changing how the composition would be experienced by the viewer.

The reasons for those decisions remain uncertain.

How Scientific Technology Reveals Hidden Paintings

Modern conservation techniques allow researchers to examine works of art without removing the paint that covers earlier stages of their creation.

Infrared reflectography can reveal underdrawings and certain changes concealed beneath surface paint, depending on the materials used by the artist. X-ray imaging can detect differences in the composition of pigments and structures below the visible surface.

Ultraviolet examination provides further information about surface materials and alterations, including some later interventions.

When combined with documentary evidence, these methods help researchers distinguish between an artist’s initial design, revisions made during painting and changes introduced after completion.

The Musée L exhibition uses these techniques to investigate what art historians call pentimenti — visible or detectable alterations that record an artist changing their mind during the creative process.

The preparatory drawing, measuring approximately 28 by 45 centimetres, provides an additional reference point. Executed in ink and pencil, it contains elements that were subsequently revised or painted over in the final composition.

Displayed alongside the finished work, it allows visitors to follow the artist’s decisions from the preliminary design to the version that eventually entered the museum’s collection.

The technical findings also demonstrate the importance of preserving preparatory studies, which can contain information absent from completed paintings.

Paul Delvaux and the Belgian Surrealist Tradition

Born in Antheit in 1897, Paul Delvaux became one of Belgium’s best-known twentieth-century painters, developing a distinctive artistic language associated with surrealism.

His paintings frequently depict classical buildings, railway stations, deserted streets and solitary figures, often arranged in environments where architectural precision contrasts with an atmosphere of uncertainty.

He was influenced by the Italian painter Giorgio de Chirico, whose deserted urban spaces and dramatic perspectives helped establish the visual language of metaphysical painting.

Delvaux’s relationship with de Chirico has been examined extensively by art historians, including Joël Roucloux, whose study of La Ville lunaire II analysed its architectural perspective, shadows and the psychological effect of its composition.

The painting’s apparently moonlit setting is particularly interesting in light of the concealed moon identified by technical examination.

The absence of that celestial body from the final visible composition changes the relationship between the painting’s title and its visual content, leaving the viewer to interpret the source of its unusual illumination.

This approach distinguishes Delvaux from other Belgian surrealists, including René Magritte, whose work frequently relied on recognisable objects placed in logically contradictory situations.

For Delvaux, architecture, perspective and the arrangement of human figures were equally important in constructing a world that appears coherent but resists conventional interpretation.

A New Examination of a Familiar Work

The exhibition forms part of Musée L’s programme devoted to research into its permanent collections, rather than a conventional retrospective of the artist’s career.

Its central purpose is to explain how a single painting developed, from its first drawn composition through successive revisions to its completed form.

The research has been supported by the Jacqueline Delcourt-Nonkels Fund, managed by the King Baudouin Foundation.

For visitors, the opportunity is to examine not only a painting by one of Belgium’s leading surrealists, but also the evidence of the artistic decisions that shaped it.

The exhibition is open at Musée L in Louvain-la-Neuve from 16 October 2026 to 7 February 2027. By presenting the original drawing, technical images and finished painting together, the museum offers a detailed examination of Delvaux’s methods and the changes he made to one of his most carefully constructed nocturnal scenes.