Italy’s Vintage Trains Lure Tourists off Beaten Track 

Passengers on the vintage carriage "cento porte", which means hundred doors in English, look through the windows at the train station in Palena, Italy July 21, 2024. (Reuters)
Passengers on the vintage carriage "cento porte", which means hundred doors in English, look through the windows at the train station in Palena, Italy July 21, 2024. (Reuters)
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Italy’s Vintage Trains Lure Tourists off Beaten Track 

Passengers on the vintage carriage "cento porte", which means hundred doors in English, look through the windows at the train station in Palena, Italy July 21, 2024. (Reuters)
Passengers on the vintage carriage "cento porte", which means hundred doors in English, look through the windows at the train station in Palena, Italy July 21, 2024. (Reuters)

As it rolls across Italy's central regions, a vintage diesel locomotive towing carriages from the 1930s and 1950s crosses the forests of the Majella National park and the Abruzzo highlands, giving tourists on board a glimpse of hidden hamlets.

Across its just over 100 kilometers (62 miles), the so-called Italian Transiberian rail line, also known as the Park Railway, slips into gorges, snakes into 58 tunnels and braves huge viaducts.

It was the first of some 1,000 kilometers of line to have re-opened under a project by Fondazione FS, part of state-controlled national rail company Ferrovie dello Stato (FS).

The "Timeless tracks" project takes tourists to forgotten parts of Italy, offering an alternative to the fast-paced, mass tourism of the major cities.

"These are tracks that have lived through different eras, they have carried soldiers to the front, cows to pasture... they were mistakenly considered unproductive during the 1960s and 70s but are now once again of value," Luigi Cantamessa, who heads Fondazione FS, told Reuters.

Inspired by train travel in Switzerland, the project now carries 45,000 tourists a year across its 13 lines. Fondazione FS expects to open two new ones by 2026, both in the southern region of Sicily.

"What were considered to be the dry branches of Italy's train network, have now proved to be the green shoots," Cantamessa added.

NO FROZEN PIZZAS

"People are used to cities and places, like Florence, that everyone knows.. but then there are other areas that need to be discovered. (This) is the right kind of tourism that does not spoil the authenticity of places," said Norma Pagiotti, a 28-year-old from Florence travelling on the train with two friends.

With arrival numbers above pre-pandemic levels, popular European travel destinations including Venice have introduced measures aimed at managing visitor numbers amid rising concerns about overcrowding.

"The train reminds me of my youth, I feel a bit nostalgic for the things of the past, which were simpler, now everything is fast, short-lived," says Caterina Quaranta, from Taranto in southern Italy, sitting on the wooden seats of the train.

The trips attract Italians and foreigners, a lot of families and children, younger people who get off to hike and cycle, and older people "who have time to spare", explained Laura Colaprete, a local guide.

"It's for those who don't want mass market, cluttered destinations. A conscious traveler, who is looking for something special," said Cantamessa of Fondazione FS. "These are not trips that serve you frozen pizza for lunch," he added.

FOLK MUSIC AND LOCAL FOOD

After climbing up almost 1,000 meters in altitude, the Transiberian's first stop is in Palena, a medieval hill-top town known for its breathtaking views over the national park.

Traditional folk music accompanies people getting off the train, with local delicacies such as lamb skewers and soft pancakes made with an iron mold, known as pizzelle, and products by local artisans awaiting them at the station.

"The train helps several small towns around here. This line was a dead line before," said Gino Toppi, 60, as he helped his wife with the food stall in the small station.

Milan's Bocconi University recently estimated that for every euro spent by passengers on tickets - which cost between 30 euros and 70 euros ($32.50 - $76)- up to a further 3 euros are spent on food, accommodation, tours and souvenirs.

That helps to support the economy of villages that have long lost population due to the dwindling birth rate and younger people leaving for the bigger cities

"There certainly are benefits, this is a way to show my products," said Annalisa Cantelmi, a herbalist.

"These tourists are slowly discovering these new territories, their traditions and people," she added.



Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
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Private Museums Bolster Cultural Tourism in Qassim Region

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA
A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals - SPA

Qassim Region is witnessing a significant rise in private museums, as individual collectors transform personal passions into vital cultural projects. These museums serve as a living memory for the community, preserving rare artifacts, historical documents, antique weapons, and vintage collections that document critical stages of the region's history. By connecting the present with its roots, these sites strengthen national identity and provide essential research resources for scholars and tourists alike, SPA reported.

A prominent example is the private museum of Abdullah Al-Suhaibani, an expert with over 40 years of experience in gemstones and minerals.

His collection features rare agates, fossils from ancient geological eras, and unique rock formations discovered throughout the Kingdom.

The museum acts as a scientific platform, promoting geology and field research while educating the community on the Kingdom’s diverse natural resources and mineral wealth.

Located near Al-Khabra Historical Village, these private initiatives have become key cultural landmarks in Riyadh Al-Khabra Governorate. Their growth aligns with Saudi Vision 2030 goals to develop cultural and scientific tourism, support local content, and position the Kingdom’s heritage and natural sites as premier global destinations.


Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
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Saudi Arabia Showcases Literary Diversity at 2026 Rabat International Book Fair

‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA
‏The Saudi pavilion brings together a range of government entities and cultural institutions - SPA

The Literature, Publishing and Translation Commission launched the Saudi pavilion at the 2026 International Publishing and Book Fair in Rabat, which continues through May 10.

‏Commission CEO Dr. Abdullatif Alwasel affirmed that the Kingdom’s participation in the event embodies the deep historical ties between Saudi Arabia and Morocco while showcasing a diverse, contemporary cultural movement driven by Saudi Vision 2030.

“Saudi Arabia’s participation at the 2026 International Publishing and Book Fair emphasizes the Kingdom’s commitment to spotlighting publishers and the creative literary sector, which continues to go from strength to strength,” Alwasel said, SPA reported.

‏He added: “The Saudi pavilion is an opportunity to invite people from every corner of the world to experience Saudi culture and diverse literary works, showcase unique Saudi talent and creative thinking, while facilitating cultural exchange and engaging discussions.”

‏The Saudi pavilion brings together a range of government entities and cultural institutions, led by the Literature, Publishing and Translation Commission, highlighting the integrated approach of the Kingdom’s cultural environment.

‏As part of the pavilion, the commission has organized a series of topical panel discussions, poetry evenings, and workshops featuring Saudi writers and creative thinkers, encouraging discussions on key issues relating to the literature, publishing and translation sector and its impact on Arab and global conversations.

‏The participation at the 31st International Publishing and Book Fair event reaffirms the Kingdom’s efforts towards platforming local talent and enhancing collaboration and cultural exchange.


Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
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Georg Baselitz, the German Painter Who Turned Postwar Art Upside Down, Dies at 88

German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)
German artist Georg Baselitz attends the opening of his exhibition "The Heroes" (Die Helden) at the Staedel museum in Frankfurt, Germany June 29, 2016. (Reuters)

Georg Baselitz liked to insist — sometimes as a taunt, ‌sometimes as a shield — that he did not know how to paint. That he had "no talent".

Rejected at 17 by the Dresden Academy of Fine Arts, he talked his way into an academy in East Berlin only to be expelled two semesters later for "sociopolitical immaturity".

"I was stupid," he recalled. "I was uneducated, but I was a rebel."

From that rebellion, Baselitz forged a career that made the child of Nazi Germany, schooled under Soviet communism, into one of the defining artists of postwar Germany.

The painter and sculptor, known for his depictions of raw bodies and inverted landscapes, has died at the age of 88, Germany's Die Welt newspaper reported on Thursday. No cause of death was given.

A REBEL SHAPED BY TWO DICTATORSHIPS

Georg Baselitz was born Hans-Georg Bruno Kern on January 23, 1938, in the Saxon village of Deutschbaselitz, a name he later adopted.

His father, a village schoolteacher and Nazi Party member, recorded Hans-Georg's birth in his diary. Inexplicably, he recorded the birth of none of his other four children, the Sächsische Zeitung daily reported in 2018.

After the war, ‌his father was ‌barred from teaching. Baselitz's mother took over his duties at the school.

Baselitz spent his childhood ‌amid ⁠the unforgiving discipline of ⁠Nazi Germany, and his adolescence amid the rubble and ideological re-education of the country's Soviet occupation zone.

"I was born into a destroyed order, a destroyed landscape, a destroyed people, a destroyed society," he later recalled. "And I didn't want to reestablish an order: I had seen enough of so-called order. I was forced to question everything, to be 'naive', to start again."

After he was expelled from the East Berlin academy, he moved to West Berlin, where he finished his studies and absorbed modernism in a way that felt, he said, like a sudden intake of oxygen.

He recalled the shock of first seeing works by Jackson Pollock and other abstract expressionists — evidence, in his telling, that ⁠the United States had a serious culture despite what he had been taught.

But rather than ‌imitate an American style, Baselitz turned back to German sources, drawing on expressionism, ‌folk traditions and imagery often dismissed by critics as ugly or even "degenerate".

SCANDAL AS A CALLING CARD

At a 1963 solo show in Berlin, authorities ‌seized two of his paintings on obscenity grounds. The episode made Baselitz famous.

The early pictures, marked by raw bodies, stunted masculinity and abrasive humor, were widely seen as provocation.

Supporters and museum curators have also framed them as a blunt report on postwar German life: damaged, compromised and struggling to find a new footing.

That sensibility carried into his mid-1960s "Heroes" paintings, which presented hulking, battered figures that looked less like victors than survivors ‌stumbling out of a defeated national myth.

But Baselitz's most recognizable works came in 1969, when he began painting motifs upside down.

After earlier experiments that fractured or partially inverted figures, he ⁠produced fully inverted works including "The ⁠Wood on Its Head" and "The Man by the Tree".

He did not simply flip finished images, he composed and painted them inverted from the start.

That approach altered how viewers read his works. By disrupting recognition, it forced attention onto the mechanics of painting — its color, balance and composition.

"An object painted upside down is suitable for painting because it is unsuitable as an object," Baselitz said.

The inversions made Baselitz an international figure in the 1970s and 1980s, as the market and institutions that once treated him as scandalous increasingly positioned him as a pillar of European postwar art.

His public reputation, however, did not settle into quiet respectability.

He repeatedly sparked backlash with remarks about female painters, including a widely reported claim that women "don't paint very well".

He also confronted the limits Germany's history places on gesture and imagery: a wooden sculpture shown at the 1980 Venice Biennale was widely read as evoking a Nazi salute, a reading he denied.

He was married to Johanna Elke Kretzschmar, known as Elke, with whom he had two sons.

In later life, Baselitz painted huge canvases from his wheelchair and moved his brushes and paints in a rolling cart.

"The sensible thing, in my situation, would naturally be to say: 'I stick to small formats'," he told Spanish newspaper El Pais at age 87. "But of course I don't do what's sensible. What's right for me is the nonsensical."