Los Angeles Artists, Collectors Reel from Wildfires

An aerial view of the fire damage caused by the Palisades Fire is shown in the Pacific Palisades, California, US January 22, 2025. REUTERS/Mike Blake
An aerial view of the fire damage caused by the Palisades Fire is shown in the Pacific Palisades, California, US January 22, 2025. REUTERS/Mike Blake
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Los Angeles Artists, Collectors Reel from Wildfires

An aerial view of the fire damage caused by the Palisades Fire is shown in the Pacific Palisades, California, US January 22, 2025. REUTERS/Mike Blake
An aerial view of the fire damage caused by the Palisades Fire is shown in the Pacific Palisades, California, US January 22, 2025. REUTERS/Mike Blake

As the Los Angeles area begins the formidable task of rebuilding after the most destructive wildfires in its history, the city's artists and art collectors are mourning what could amount to billions of dollars in irreplaceable art that went up in flames.
The wildfires have altogether destroyed more than 13,000 structures, with many among those located in the affluent Palisades neighborhood -- home to many priceless art collections -- and the town of Altadena, which was home to a flourishing artist community.
Some of those art collectors likely lost many of their acquisitions as the fires burned out of control for weeks, while local artists have watched as their studios and homes burned, destroying their work and jeopardizing their livelihoods.
"There's part of me that's numb or in shock," said Brad Eberhard, an artist who ran Altadena's Alto Beta gallery, which also housed his own studio. Both burned down in the Eaton Fire. "Every half hour I remember another thing gone."
Alto Beta, a 550-square-foot (51-sq-meter) space in an Altadena shopping center, hosted exhibits focused on artists who had not had a showing in Los Angeles in the past three years.
Eberhard lost between 50 and 70 of his own sculptures as well as about two dozen pieces of art from his friends and colleagues.
When he returned to visit the gallery, "all I recognized was an aluminum door frame," he said.
Just days before the gallery burned down, Alto Beta had opened a show called "Quiver" exhibiting paintings from Mary Anna Pomonis, a Los Angeles-based artist. Pomonis described the work in the show as female-centered paintings rooted in devotional imagery.
"It felt like it was an appropriately dramatic response to work that I felt dealt on that scale of an epic narrative," Reuters quoted her as saying.
Many in the Los Angeles area have heard the fates of their homes but have been unable to return to see what's left, as tens of thousands of Angelenos remain under evacuation orders.
Kim McCarty, a watercolor painter and owner of the Michael's Santa Monica restaurant with her husband, lost her home to the Palisades fire. Like many, she has not been able to return to assess the damage in person.
Through their restaurant, which opened in 1979, the McCartys became acquainted with local artists and housed many pieces in their Malibu home from friends such as Roger Herman, a German-born artist who teaches at the University of California, Los Angeles, and Pippa Garner, an American artist who died in Los Angeles in December.
"(I'm) sad to lose that all because it's such a loving thing," said McCarty, who added she was not able to salvage any of her own artwork before she was forced to evacuate.
Experts have estimated that the LA wildfires could be the most expensive disaster in US history. AccuWeather has estimated at least $250 billion in losses due to the fires, although that figure could still change.
It is too early to estimate much of the losses that are art-related, but there were perhaps "billions" of dollars worth of fine art in properties in affected areas, said Christopher Wise, vice president at Risk Strategies, an insurance broker and risk management consultancy.
"If you take a look at the size of the areas that are under threat or have burned, the scale of it really is staggering," he said.
Still, Wise cautioned that the amount of losses remains unclear, as many collectors have yet to return to their homes.
Despite the uncertainty created by the wildfires, the organizers of Frieze Los Angeles made the decision last week to go ahead with the international art fair, scheduled for late February.
Frieze, which also holds annual fairs in London, New York and Seoul, has presented the Los Angeles edition since 2019, elevating the city's status as an art capital. The fair attracts galleries and collectors from around the world, especially those from the US West Coast.
"Since the fair's founding six years ago, Frieze has been proud to support and be part of this vibrant community," said a Frieze spokesperson. "The challenges the city is currently facing only strengthen our commitment to work alongside the community to rebuild and recover together."
Frieze Los Angeles, in conjunction with several smaller art fairs, aims to send a message to the local art community by going forward despite the fires, said Marc Selwyn, the owner of Marc Selwyn Fine Art in Los Angeles.
"I think it's important that people know that LA is open for business and art is something that can be a boost for people in these kinds of times," the gallery owner said. The world-famous Getty Museum, which survived the fires, led several major art organizations in standing up a $12 million LA Arts Community Fire Relief Fund, which is set to provide emergency relief to artists and others who work in the arts.
If there is a silver lining to be found in the disaster it may lie in how the Los Angeles artistic community has pulled together to help one another, said Eberhard. He has already been able to find homes in other galleries for most of the shows that Alto Beta was set to exhibit this year.
"I didn't know that the artist community was this caring. I really didn't, because artists are notoriously, and accurately, independent, self-reliant, like little islands," he said.



WAMY: Saudi Pavilion at Cairo International Book Fair 2026 Reflects Saudi Cultural Leadership

File photo of the Saudi flag/AAWSAT
File photo of the Saudi flag/AAWSAT
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WAMY: Saudi Pavilion at Cairo International Book Fair 2026 Reflects Saudi Cultural Leadership

File photo of the Saudi flag/AAWSAT
File photo of the Saudi flag/AAWSAT

The World Assembly of Muslim Youth (WAMY) praised the Kingdom of Saudi Arabia’s distinguished participation in the 57th Cairo International Book Fair, held in January 2026, affirming that it reflects a balanced civilizational model that combines the authenticity of cultural heritage with a forward-looking vision of knowledge for future generations, SPA reported.

WAMY noted that this participation contributed to strengthening the Kingdom’s standing as an influential cultural force at the regional and international levels.

WAMY also commended the diversity of the content presented, which ranged from the latest scientific and literary publications to a rich cultural program that included seminars and poetry evenings.

These activities enhance cultural dialogue and promote the values of moderation, underscoring the Kingdom’s commitment to supporting the publishing industry, empowering youth through knowledge, and raising awareness.


Fragmentary Sculptures from the Umayyad Palace of Qasr al-Mshatta

Five sculptures from Qasr al-Mshatta are preserved in the Museum of Islamic Art in Berlin, while a sixth sculpture is preserved in the Jordan Archaeological Museum in Amman.
Five sculptures from Qasr al-Mshatta are preserved in the Museum of Islamic Art in Berlin, while a sixth sculpture is preserved in the Jordan Archaeological Museum in Amman.
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Fragmentary Sculptures from the Umayyad Palace of Qasr al-Mshatta

Five sculptures from Qasr al-Mshatta are preserved in the Museum of Islamic Art in Berlin, while a sixth sculpture is preserved in the Jordan Archaeological Museum in Amman.
Five sculptures from Qasr al-Mshatta are preserved in the Museum of Islamic Art in Berlin, while a sixth sculpture is preserved in the Jordan Archaeological Museum in Amman.

by Mahmoud Zibawi

The Jordanian desert contains a series of Umayyad palaces, the largest of which is Qasr al-Mshatta, located in the Jiza District. Western Orientalist scholars first drew attention to this site in the late nineteenth century, and a German mission succeeded in transporting its massive southern facade to Berlin at the beginning of the twentieth century, after Sultan Abdulhamid II presented it as a gift to his ally, Kaiser Wilhelm II of Prussia.

The facade entered the Kaiser Friedrich Museum in 1903 and was later transferred to the Museum of Islamic Art in 1932. This museum is regarded as the oldest and largest institution dedicated exclusively to Islamic art in Europe and North America. The facade of Qasr al-Mshatta occupies the largest portion of this European complex, alongside a small, independent group of damaged sculptures that originally formed part of the palace’s furnishings. This group bears witness to a distinct Umayyad sculptural tradition, whose artistic identity became clearly defined through comparable assemblages discovered in other Umayyad palaces excavated during the 1930s.

The sculptures from Qasr al-Mshatta are displayed on white rectangular plinths in a corner of the gallery dedicated to the palace’s monumental facade at the Museum of Islamic Art in Berlin. At first glance, they resemble fragmented stone blocks positioned at the margins of this facade, which is adorned with limestone relief carvings that have largely preserved their original features. In this corner, one piece stands out for having retained most of its original form: a carved and polished block of limestone depicting a lion crouching on a white base, measuring 72 centimeters in length and 122 centimeters in width.

The lion appears firmly grounded on its folded hind legs atop a thin rectangular base devoid of ornament, with its front legs extended forward. Despite the loss of most of the head and the extremities of the forelegs, the sculptural composition remains clear and legible. The facial features have largely disappeared, making them difficult to reconstruct; however, the posture suggests an upright head pressed close to the chest, encircled by a dense mane composed of compact, parallel locks of hair that extend to include the beard, together forming a collar encircling the oval mass of the chin.

The body is elongated and smooth, with limbs clearly articulated in a manner that approaches naturalistic realism, as evidenced by the precise modeling of the joints. This approach is especially apparent in the treatment of the hind legs and is further emphasized by the pronounced protrusion of the claws marking their extremities. It is worth noting the existence of a small carved fragment originating from Qasr al-Mshatta in which these claws appear in a similar manner. It remains unclear whether this fragment originally belonged to the same sculpture or to a companion piece that formed a paired composition, in keeping with an artistic convention prevalent in the provinces of the Sasanian Empire. Although this empire came to an end with the Islamic conquest of Persia, its cultural legacy remained vibrant and left a profound imprint on Umayyad artistic production; the lion of Qasr al-Mshatta stands as compelling evidence of this cultural synthesis.

Facing this lion are several damaged sculptural fragments, each representing a small portion of a female figure whose original configuration is now difficult to reconstruct. One fragment preserves a head, retaining the wide eye sockets, the lower portion of the nose, and lips closed in a subtle smile. The cheeks are broad, suggesting that this youthful face belonged to a woman crowned by a voluminous mass of thick hair, whose upper surface is approximately twice the area of the face itself. By contrast, two additional fragments reveal a full and fleshy female torso.

A third fragment preserves the thighs of two closely set legs, which share the same robust character. This piece has retained its polished surface and is of medium scale, measuring 70 centimeters in height and 50 centimeters in width, indicating that it belonged to a statue conceived on a near life-size scale. This three-dimensional form preserves fine details of its execution, revealing a thin garment slipping away from the buttocks, with its edge still visible at the upper part of the left thigh. On this thigh appear traces of an inscription carved in Kufic script, running from top to bottom. Unfortunately, specialists have been unable to decipher the text, though one hypothetical reading suggests that it records the name of the woman represented by the statue.

The Jordan Archaeological Museum houses a comparable fragment uncovered during restoration and cleaning campaigns conducted by the Department of Antiquities in 1962 at Qasr al-Mshatta. This piece, likewise executed at near life size, measures 75 centimeters in height and 52 centimeters in width and represents the pelvis and upper portions of the legs. Here, the garment drapes over the right thigh, revealing the left thigh beneath, with sharply defined folds executed in accordance with the classical Greek style. The statue has lost its arms; however, the remaining lower portions indicate hands that once held objects whose identities can no longer be determined.

These sculptures attest to an Umayyad female sculptural ideal, whose formal characteristics first emerged through the study of the murals at an Umayyad desert site known as Qusayr ʿAmra, documented by the Czech scholar Alois Musil in a major two-volume publication issued in 1907. These characteristics were subsequently confirmed in the medium of sculpture through the discovery of similar female figures from an Umayyad palace located at Khirbat al-Mafjar, north of Jericho, during excavations conducted by a mission affiliated with the British Department of Antiquities in the mid-1930s.

This ideal is distinguished by a full, fleshy body inclined toward corpulence, as well as facial features that mirror this physical quality. The type recurs in multiple sculptural variants, and their study reveals the use of diverse hairstyles and ornamental schemes, forming a visual vocabulary that parallels the literary lexicon for which this remarkably productive period is renowned.


Olympic Visitors to Milan Get a Rare Chance to Glimpse Restoration of a Long-Hidden Leonardo Gem

Marina Vece works on restoring the Sala delle Asse, part of the newly created Leonardo da Vinci itineraries inside Milan's Sforza Castle, Italy, Tuesday, Jan. 20, 2026. (AP)
Marina Vece works on restoring the Sala delle Asse, part of the newly created Leonardo da Vinci itineraries inside Milan's Sforza Castle, Italy, Tuesday, Jan. 20, 2026. (AP)
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Olympic Visitors to Milan Get a Rare Chance to Glimpse Restoration of a Long-Hidden Leonardo Gem

Marina Vece works on restoring the Sala delle Asse, part of the newly created Leonardo da Vinci itineraries inside Milan's Sforza Castle, Italy, Tuesday, Jan. 20, 2026. (AP)
Marina Vece works on restoring the Sala delle Asse, part of the newly created Leonardo da Vinci itineraries inside Milan's Sforza Castle, Italy, Tuesday, Jan. 20, 2026. (AP)

In honor of the Milan Cortina Olympics, Milan cultural officials are for a brief time only allowing visitors access to a long-hidden wall and ceiling painting by Leonardo da Vinci while restoration work is underway.

The vast painting of a pergola covered with intertwined flowering branches inside Milan’s Sforza Castle is concealed behind a six-meter (nearly 20-foot) towering scaffolding in the Sala delle Asse. Letters establish that Leonardo started the work, but it's one he left unfinished.

“In 1498, he had to flee because the French arrived in Milan, and after that date it was covered over, hidden,” said Luca Tosi, heritage curator at Milan’s landmark Sforza Castle, which is in the same Sempione Park where the Olympic flame will burn during the Feb. 6-22 Winter Games.

In another sign of Leonardo's impact on Milan, the Olympic cauldron itself is inspired by the Renaissance genius' geometric studies, officials announced this week.

Under the French, the castle became a military barracks and the painting, which covers the ceiling and part of the wall, was covered with plaster. The work was only rediscovered early last century, when restorers removed the plaster and filled in color to match Leonardo’s work.

“As a result, Leonardo scholars no longer recognized them as a true Leonardo, but rather as a repainted Leonardo, somewhat a fake, to use a popular term,” Tosi added.

Visitors will be able to climb up the scaffolding and view the restorers at work during a brief window from Feb. 7-March 14, after which it will be closed to the public again for another 18 months to complete the work.

Restorers are using Japanese rice paper with demineralized water to remove salts that have seeped into the walls, gradually cleaning the surface of the painting.

“The hardest part is that Leonardo’s painting is very delicate, there are some liftings, there are more fragile parts and therefore the work must be done centimeter by centimeter, with the utmost attention and care,” Tosi said.

The painting is a study of leaves and plant species that provides yet more evidence of Leonardo’s infamous scientific inquiry, said Tomasso Sacchi, Milan’s top culture official.

“It’s a thrill to know another Leonardo and to experience this extraordinary dedication to various forms of knowledge by this fundamental figure in our history,” Sacchi said.