![]() “Building a community with a shared future for mankind is the only way to address common risks and challenges and overcome global problems,” he said. ![]() The story of The Wandering Earth further illustrates that the destiny of humanity is interconnected, and in face of global challenges, no country or nation can survive alone, said Li Song, permanent representative of China to the UN Office and other international organizations in Vienna. Mankind decides to take the planet with them on a journey out of the Solar System. The film is set in a future world where the Sun is dying out and Earth is facing an impending apocalypse in just 100 years. Thousands of artworks remain unaccounted for.” Wanted: Raphael’s Portrait of a Young Man.(ECNS) - The Chinese movie The Wandering Earth 2 was on show at a side event of the 66th Session of the United Nations Committee on the Peaceful Uses of Outer Space held in the United Nations Office at Vienna. Never before had art been moved, hidden, and plundered on such a vast scale. And like every civilian or solider who lived and died, every work of art had a story to tell. Narrator Joan Allen: “Like refugees from battle, most of Europe’s art found its way home after the war. National identity resides in frescos, marble, and oils as within boundaries. Endings happy (Gustav Klimt’s Adele Bloch-Bauer) and grave (the Monte Cassino monastery) carry with them historical figures such as frontline art academic Deane Keller, now interred at the U.S.-bombed Camposanto sanctuary in Pisa, Italy, thanks to his efforts to first preserve then restore the historic landmark. The film's tone and pacing are strictly A&E, while Marco d’Ambrosio’s musical score (with assists from Tchaikovsky and Polish composer Henryk Górecki) defines manipulation, though none neutralizes the sobering images and interviews, both historical and new. The documentary blitzkrieg with which The Rape of Europa traces Hitler’s failed art-school aspirations to a salt mine in Austria with 6,500 paintings he hoped to hang in his bequest to greater mankind leaves viewers with the aforementioned veteran’s incomprehension about genocidal Rembrandt collectors. Vienna, Cracow, Florence: continental art capitals pillaged by the German army (“art collecting became a required pastime for the Nazi party elite”). Petersburg, Russia, parallel crucibles of culture that, like their countries, suffered disparate fates during the war. Others include Paris’ Louvre and the State Hermitage Museum in St. When the Allies rerouted the personal war spoils – plus other priceless stashes of stolen art – of Adolf Hitler and Hermann Goering in 1945, the two sorting centers in Munich and Wiesbaden were recalled by another monuments-man as the greatest museums produced by civilization. soldiers charged with finding and returning the recovered fine art looted by the Nazis during Europe’s six-year holocaust that left 50 million people dead. How they could retain the nicety of the appreciation of great art and be exterminating millions of people in nearby concentration camps – I couldn’t understand it then, and I can’t understand it today.” So summarizes one World War II “monuments man” at the end of The Rape of Europa, one of a small group of U.S. “All of this accumulated beauty had been stolen by the most murderous thieves that ever existed on the surface of the earth.
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