Sunflowers in bloom: Van Gogh’s masterpieces reunite in London
Van Gogh: Poets and Lovers will be the National Gallery’s autumn blockbuster show, with more than 50 artworks
Oleanders (1888)
By Rithika SiddharthaSep 22, 2024
VAN GOGH’S Sunflowers are among the most recognised artworks, and a new exhibition at the National Gallery brings both these paintings together for the first time after they were last seen in the Dutch artist’s studio.
This year marks the centenary of the acquisition of one of the Sunflowers paintings by the London museum, which itself is marking its 200th year in 2024.
Van Gogh intended the artworks to be displayed as a set of three, and so the two Sunflowers paintings (one made in 1888 and the second, a year later) flank La Berceuse (1889), a portrait of a woman with cradle cord.
Van Gogh: Poets and Lovers will be the National Gallery’s autumn blockbuster show, with more than 50 artworks sourced from within the gallery as well as European and US museums and some private collections.
At a preview of the exhibition before it opened to the public last Saturday (14), co-curators Cornelia Homburg and Christopher Riopelle explained the significance of the two years Gogh spent in Arles and Saint-Rémy in Provence (1888 -1890), a time when he was admitted to the Saint-Paul-de-Mausole hospital in Saint-Rémy.
This is the first time the second Sunflowers has travelled outside the US museum. Writing to his brother Theo in May 1889, Van Gogh discussed potential arrangements of them for display and sent him a sketch.
Vincent Van Gogh’s Self-Portrait (1889)
The painting between the two Sunflowers is a portrait of Augustine Roulin, the wife of his friend, the postmaster of Arles. In her hands she holds the end of a rope, suggesting an unseen cradle.
Its title, La Berceuse, can be translated as “lullaby” or “she who rocks the cradle.” Van Gogh told his brother he imagined his painting “in the cabin of a boat” where fishermen in “their melancholy isolation, exposed to all the dangers, alone on the sad sea…would experience a feeling of being rocked, reminding them of their own lullabies”.
Homburg said while in the south of France, Gogh explored the countryside and used the motifs from nature and the models he had to create some exceptional works of art. “And often these are inventions. These are inspired by his imagination and by an incredible array of interpretations of motifs,” she added.
The Bedroom (1889)
In Arles, Gogh designated an unremarkable (as Homburg described it) public park in front of the Yellow House (in which the artist lived and worked) as a Poets’ Garden, envisioning Italian Renaissance poets Petrarch and Boccaccio strolling there. Visitors are greeted by three paintings that dominate the first room, a lover and a poet on either side of The Poet’s Garden.
In the spring of 1889, Homburg recalled how after Gogh had a number of breakdowns and was afraid of living on his own, he had himself committed to a psychiatric hospital in Saint Remy.
There, he goes into the somewhat unkempt garden of the hospital, and again, sees “opportunities to make different interpretations, different depictions of a relatively small and closed space”, she said. “He imagines little corners, he referred to nests of the lovers, imagining that in this manner. Of course, it couldn’t be the case, but that’s how he interpreted the place in his mind.”
Those paintings, depicting a setting sun, a broken tree trunk, all symbolise the suffering of his fellow patients.
Night over the Rhône (1888)
In a letter to his friend, Emile Bernard, a French painter and writer, Gogh said, “You’ll understand that this combination of red ochre, of green saddened with grey, of black lines… gives rise to a little to the feeling of anxiety from which some of my companions in misfortune often suffer.”
Van Gogh drew inspiration from Paul Gauguin and a Japanese print for The Sower, a rural scene of a solo figure with a large tree trunk diagonally cutting across the canvas and the bright sun bestowing a halo-like effect on the sower.
Elsewhere in the show are more artworks with themes of nature, featuring flowers, mountains, wheat fields, meadows, olive trees – all stunning for their vibrant use of colour, brushwork, innovation and interpretation.
A set of paintings in the last room of the exhibition were done prior to Van Gogh leaving Arles and travelling up north.
“He paints in a very exciting new way, he gives these incredibly close up looks, as if he’s staring straight down at nature in front of him,” said Riopelle, describing how they’re “almost abstract in their boldness, in the originality of the composition”.
This is the National Gallery’s first exhibition devoted to Van Gogh, and it includes his famous drawings, too.
The Olive Trees. (1889) Artwork Location: Museum of Modern Art (MoMA), New York, USA
Those with a keen eye will notice sunflowers at the bottom of a canvas of mountains, which Van Gogh interpreted in his own way.
In another painting of his studio, two portraits hang on the wall next to his bed – one of them is his self portrait, which is placed alongside the painting of the studio. The other portrait is of a blonde person, which Homburg said has never been found, so “there is another story he’s telling us, imagining it possibly – an affair or an intimate encounter”.
Intrigue, innovation and imagination come alive in this show which will captivate long time art lovers as well as novices.
Van Gogh: Poets and Lovers until January 19, 2025 at the National Gallery
UK AVIATION engineers are arriving in Thiruvananthapuram to carry out repairs on an F-35B Lightning jet belonging to the Royal Navy, which has remained grounded after an emergency landing 12 days ago.
The jet is part of the HMS Prince of Wales Carrier Strike Group of the UK's Royal Navy. It made the emergency landing at Thiruvananthapuram airport on June 14. The aircraft, valued at over USD 110 million, is among the most advanced fighter jets in the world.
According to a spokesperson for the British High Commission, the aircraft is currently awaiting repairs at the Thiruvananthapuram international airport after it developed an engineering issue.
The UK has agreed to move the aircraft to the Maintenance Repair and Overhaul (MRO) facility at the airport.
"The aircraft will be moved to the hangar once UK engineering teams arrive with specialist equipment, thereby ensuring there is minimal disruption to scheduled maintenance of other aircraft," the spokesperson said.
The F-35B is the only fifth generation fighter jet with short takeoff and vertical landing capabilities, which allows it to operate from smaller decks, austere bases and ships.
The official said the aircraft would return to active service once the repairs and safety checks are completed.
"Ground teams continue to work closely with Indian authorities to ensure safety and security precautions are observed. We thank the Indian authorities and Thiruvananthapuram international airport for their continued support."
The aircraft was unable to return to HMS Prince of Wales due to adverse weather conditions.
Engineers from HMS Prince of Wales had assessed the aircraft after the emergency landing and determined that support from UK-based engineering teams was required.
The Indian Air Force had said a few days after the incident that it was providing all necessary support for the "rectification and subsequent return" of the aircraft.
Earlier this month, the HMS Prince of Wales Carrier Strike Group conducted military exercises with the Indian Navy.
In British service, the F-35B is referred to as the 'Lightning'. It is the short takeoff and vertical landing (STOVL) variant of the fighter jet, designed for use from short-field bases and air-capable ships.
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Prada acknowledges Indian influence behind its Spring Summer 2026 men’s footwear
• Prada confirms Indian roots behind 2026 ‘leather sandals’ after controversy • Indian artisans and officials accused the brand of cultural appropriation • The footwear resembles traditional Kolhapuri chappals with GI status • Prada says designs are still in development and open to dialogue with India
Italian fashion label Prada has officially acknowledged that its Spring/Summer 2026 menswear collection includes footwear inspired by India’s traditional Kolhapuri chappals. The statement came after mounting criticism from Indian artisans and industry leaders, who claimed the brand showcased the design at Milan Fashion Week without recognising its origins.
Prada confirms Kolhapuri chappals inspired its 2026 Milan collectionInstagram/prada
Prada responds to Kolhapuri chappal row
In a letter addressed to Lalit Gandhi, President of the Maharashtra Chamber of Commerce, Industry and Agriculture (MACCIA), Prada’s CSR head Lorenzo Bertelli confirmed the sandals were influenced by Indian craftsmanship. The fashion house admitted that the open-toe leather sandals presented on the Milan runway drew from the centuries-old Kolhapuri style, traditionally made by artisans in Maharashtra and Karnataka.
Kolhapuri chappals have been crafted for centuries and received GI tag in 2019 iStock
The controversy erupted after Prada described the footwear simply as “leather sandals” in its show notes, omitting any reference to India. This led to accusations of cultural appropriation and disregard for artisans' rights. BJP MP Dhananjay Mahadik also led a group of Kolhapuri chappal makers to meet Maharashtra Chief Minister Devendra Fadnavis, urging government action to protect their Geographical Indication (GI) status.
No production yet, says Prada, as India seeks fair credit
Prada clarified that the sandals shown were part of an early-stage design process and have not been confirmed for mass production. “None of the pieces are finalised or approved for commercial use,” Bertelli wrote.
MACCIA, in its communication, called for proper acknowledgement and possible collaboration or compensation for Indian artisans. The organisation stressed that Kolhapuri chappals are not just heritage products but also vital to the livelihoods of thousands of families.
In response, Bertelli assured Prada’s commitment to ethical design, cultural respect, and further engagement with Indian artisan communities. He also welcomed the opportunity for open dialogue on potential partnerships.
The Kolhapuri chappal, awarded GI status in 2019, is a symbol of regional identity and craftsmanship. As global fashion continues to borrow from traditional cultures, this case may set the tone for how brands address ownership, recognition, and respect.
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Shefali Jariwala dies at 42 after cardiac arrest in Mumbai hospital
Actor and model Shefali Jariwala passed away late Friday night in Mumbai at the age of 42.
She was rushed to Bellevue Multispeciality Hospital after a cardiac arrest but was declared dead on arrival.
The Kaanta Laga star was married to actor Parag Tyagi, who was seen grieving outside the hospital.
Mumbai Police and forensic teams are investigating, with an official cause of death yet to be confirmed.
Actor and television personality Shefali Jariwala, who rose to fame with the early 2000s music video Kaanta Laga, has died following a sudden cardiac arrest. The 42-year-old was declared dead at Bellevue Hospital in Mumbai late on Friday night, 28 June. Her husband, actor Parag Tyagi, reportedly rushed her to the hospital around midnight with the help of close friends.
Despite immediate medical attention, doctors could not revive her. A hospital source confirmed she was “dead on arrival” at 11:27 pm. Her death has left friends, fans, and colleagues in shock, as many described her as healthy, cheerful, and actively working.
Shefali Jariwala dies at 42 after cardiac arrest, industry mourns Kaanta Laga starInstagram/shefalijariwala
Tributes pour in for Shefali Jariwala from friends and co-stars
Condolences have flooded social media since the news broke. Actors Dipshikkha Nagpal, Karishma Tanna, and Arjun Bijlani remembered Shefali as a “beautiful soul” and a “vibrant, kind person”. Television personalities including Aarti Singh, Munmun Dutta, and Kushal Tandon expressed disbelief, while fellow Bigg Boss contestants like Madhurima Tuli and Monalisa shared emotional messages.
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Comedian Sunil Pal and actor Ashish Vidyarthi also recalled fond memories of working with her. The Cine & TV Artistes’ Association (CINTAA) issued a public tribute, acknowledging her impact on Indian entertainment. Her husband Parag Tyagi was seen outside the hospital and later at their residence, visibly heartbroken and carrying a framed photo of Shefali.
From IT graduate to household name: a brief look at her journey
Born in Mumbai in 1982, Shefali Jariwala held a degree in Information Technology before stepping into showbiz at 20. Her appearance in Kaanta Laga made her a pop culture phenomenon. She later appeared in films like Mujhse Shaadi Karogi, Kannada hit Hudugaru, and several music videos.
Shefali Jariwala was married to actor Parag Tyagi,Instagram/shefalijariwala
In 2019, she re-entered the limelight with Bigg Boss 13, earning praise for her calm yet assertive presence. Off-screen, she was candid about her health struggles, including epilepsy and anxiety, and had once spoken about her wish to adopt a daughter.
The police are awaiting autopsy results as investigations continue.
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Relatives carry the coffin of a victim, who was killed in the Air India Flight 171 crash, during a funeral ceremony in Ahmedabad on June 15, 2025. (Photo: Getty Images)
TWO weeks after the crash of Air India flight AI-171 in Ahmedabad, families of victims are grappling with grief and trauma. Psychiatrists are now working closely with many who continue to oscillate between denial and despair.
The crash occurred on June 12, when the London-bound flight hit the BJ Medical College complex shortly after takeoff, killing 241 people on board and 29 on the ground. Only one passenger survived.
The emotional impact of the incident continues to affect survivors and relatives of those who died.
Counselling support on the ground
In the immediate aftermath, the Department of Psychiatry at B J Medical College deployed a team of psychiatrists—five senior residents and five consultants—across locations including Kasauti Bhavan, the postmortem building, and the civil superintendent's office to support families.
"The accident was unimaginable. Even bystanders were disturbed. Then what must be the condition of someone who lost their loved one?" said Dr Minakshi Parikh, Dean and Head of Psychiatry at BJMC.
"If the people who heard the news were so disturbed, then it is not even within our scope to imagine the state of mind of the family members of people who lost their lives," she told PTI.
Processing grief in stages
As visuals of the crash began to circulate, families arrived in large numbers—many still hoping their relatives had survived. The existence of a lone survivor gave rise to hopes that it might be their loved one.
"There was an uncertainty whether one would be able to identify the loved ones they have lost and wait for matching of the DNA samples for three days. In some cases, samples of another relative of the kin had to be taken. The shock would have logically led to acute stress reactions and post-traumatic stress disorder," said Dr Parikh.
Dr Urvika Parekh, assistant professor and a member of the crisis response team, said denial was the immediate response among many families.
Facing denial and despair
"They kept asking for updates, insisting their family member had survived. Breaking the news gently, while having no confirmation ourselves, was incredibly difficult. We had to provide psychological first aid before anything else," she said.
Parekh said the hope placed on the lone survivor became a coping mechanism. "We had to deal with the denial and explain that nobody could have survived the horrific crash (except one who was not their relative)," she added.
Families were initially reluctant to accept counselling. "It was also difficult to accept the truth without seeing the bodies of their loved ones. Counselling aided them at this critical juncture," Parekh said.
She shared the case of a man who remained silent after losing his wife in the crash. "There was immense guilt—survivor guilt (that he is alive and his wife died). We gave him anti-anxiety medication to help ease the immediate stress. Eventually, he began to speak. He talked about their plans, their memories. It was catharsis. We didn't interrupt—we just let him speak and communicated through silence and empathy,” she said.
Parekh said that listening empathetically was a major part of the process. "We were managing their anger, outburst, and their questions like 'why us' (why did it have to happen to us)," she said.
The wait for DNA results was another major source of distress. With confirmation taking up to 72 hours or more, some families insisted they could identify their loved ones without DNA.
"There was one father who kept saying he didn't need DNA tests—he could identify his son by his eyes," said Parekh. "We had to gently discourage that. Seeing their loved ones in such a state could trigger PTSD and depression. We told them: it's better to remember them with a smile than with charred remains.”
Dr Parikh said the five commonly known stages of grief—denial, anger, bargaining, depression, and acceptance—were not experienced in a fixed sequence.
Lingering grief and support
"People cycle through these stages. Someone might accept the loss in the morning and fall back into denial by evening,” said Parekh. "So we mourned with them. That was part of the therapy".
Parekh stays in one of the residential buildings near the crash site. Her building was not damaged.
Some families found the waiting unbearable. One Air India crew member’s family had to wait seven days for DNA confirmation. “The exhaustion, the helplessness—it broke her mentally,” a relative said. “But the counselling helped. Those sessions were our only anchor."
"A calm voice, the right amount of information, and simply being there—these saved a lot of families from spiralling into chaos,” said Dr Parikh.
Delighted to pause and look back on a pioneering partnership project, which saw our Randal Charitable Foundation, Leicestershire Police and the Centre for Social Justice (CSJ) support pupils, from 5 Leicester schools, tour London and the Houses of Parliament with the aim to help raise aspirations and demonstrate possible future career paths.
With more young people than ever struggling to stay in education, find employment and track down career opportunities, I’ve reflected on the importance of collaborations like this one, which model just one way in that small interventions could reap rewards in the life course of youngsters.
New data released by the Department for Education showed over a quarter of a million school suspensions in Spring 2024 – a 12% increase on the previous year. Other studies including by the Centre for Social Justice show devastating statistics, including that there’s almost 1 million 16–24-year-olds in the UK who are Not in Education, Employment or Training – that’s 1 in 7 who are economically inactive and not looking for work. The need for creative interventions is real – and pressing.
Our visit was organised in the summer of 2023, with a simple aim - to help inspire underprivileged young people to gain the opportunities and motivations to reach their full potential. They travelled to London by coach for a briefing at the CSJ’s offices in Smith Square – after which they walked along the Embankment to the Houses of Parliament & Lords, for a guided tour.
Inspired by the trip, our partners have recently reported that a number of the young people have begun following their dreams and finding their passions. One pupil who took part, a 'looked after child', has now completed school with impressive exam results and reportedly frequently mentioned the experience and how much they enjoyed the visit throughout their final year.
Another has blossomed into what teachers describe as a 'superstar' at school, maintaining strong attendance and being a positive influence on fellow pupils. And perhaps the most touching story of all comes from a pupil who, despite facing significant challenges at home, has developed a passionate interest in politics and is now thriving academically, with aspirations towards public service.
I believe key moments in the lives of young people can be turning points, for good and for bad. This trip alone didn’t change lives, of course. But it did allow a moment in time to explore possibilities - and create some curiosity about different futures, which I’m delighted to see now being translated.
Investment by our Foundation, expert community outreach by Leicestershire Police, through their Mini Police programme and specialist support from CSJ colleagues all made this moment in time possible. We built on the growing positive relationships between police, schools and young people – to make a difference together for a few young people – in that moment.
A precious moment indeed.
Dr Nik Kotecha OBE DL is the chairman of the Randal Charitable Foundation