标签： Europe

THE HAGUE, Netherlands — Cees Nooteboom, the celebrated Dutch author whose profound literary works exploring European identity made him a perennial Nobel Prize contender, passed away peacefully Wednesday at age 92. His publisher, De Bezige Bij, confirmed the eminent writer died on his beloved island of Menorca.

Nooteboom’s remarkable seven-decade career spanned multiple genres, establishing him as one of the Netherlands’ most distinguished literary voices. His passing marks the end of an era for European letters.

The publisher’s statement, composed on behalf of Nooteboom’s wife Simone Sassen, noted the international literary community would deeply miss “the friendship, erudition, passion, and idiosyncrasy of this internationally acclaimed writer.” No cause of death was provided.

Nooteboom’s literary journey began with his 1955 debut novel “Philip and the Others,” now considered a Dutch classic that drew inspiration from his hitchhiking adventures across France and Scandinavia. This work established his signature style—meticulously constructed narratives showcasing linguistic mastery and profound cultural insight.

Beyond fiction, Nooteboom distinguished himself as an observant journalist chronicling Europe’s transformative moments. He reported firsthand on pivotal historical events including the 1956 Soviet invasion of Budapest, the 1968 Paris student uprising, and the 1989 fall of the Berlin Wall.

After focusing on journalism and travel writing during the 1960s-70s, Nooteboom reemerged as a major novelist with his 1980 work “Rituals,” which achieved both critical acclaim and popular success, eventually being adapted into a feature film. His extensive body of work has been translated into more than 25 languages, with particularly strong recognition in Germany.

Though never awarded the Nobel Prize, Nooteboom received virtually every major Dutch literary honor plus Germany’s prestigious Konrad Adenauer Stiftung literature prize in 2010. The Dutch National Library noted his “well-considered constructions” and “mastery of language” as consistently praised by reviewers.

Funeral arrangements remain unannounced as the literary world mourns the loss of one of Europe’s most insightful cultural voices.

The music world mourns the loss of Andrew Ranken, the founding drummer and percussionist of the iconic Celtic punk band The Pogues, who passed away at age 72. The London-based group confirmed his passing in an emotional online tribute, remembering him as the “heartbeat of The Pogues.”

Ranken, affectionately known by his nickname “The Clobberer,” was an integral part of the band’s most celebrated lineup during the 1980s, 1990s, and 2000s. His versatile musical talents extended beyond drumming to include percussion, harmonica, and backing vocals, contributing significantly to the band’s distinctive sound.

As a core member of the ensemble formed in 1982, Ranken performed on some of The Pogues’ most enduring tracks, including the Christmas classic “Fairytale of New York” and the beloved “Dirty Old Town.” He stood alongside other legendary members including the late vocalist Shane MacGowan, bassist Cait O’Riordan, tin whistle player Spider Stacy, banjoist Jem Finer, and accordion player James Fearnley.

The band’s official statement expressed profound gratitude for Ranken’s contributions: “Andrew, thank you for everything, for your friendship, your wit and your generosity of spirit, and of course for the music, forever a true friend and brother.” The message extended condolences to his family during this “sad and difficult time,” acknowledging both his personal warmth and his monumental artistic legacy that continues to resonate with fans worldwide.

ROME — A groundbreaking exhibition at Palazzo Barberini is illuminating one of art history’s most consequential partnerships: the dynamic relationship between Baroque master Gian Lorenzo Bernini and his powerful patron Pope Urban VIII that fundamentally reshaped Rome’s artistic landscape.

“Bernini and the Barberini,” opening this Thursday, meticulously examines the two-decade collaboration between the artistic prodigy and the pontiff who reigned from 1623-1644. The exhibition positions Urban VIII as the visionary who recognized Bernini’s extraordinary talent early in his career, ultimately empowering him to transform Rome into the undisputed center of Christian artistic achievement.

The timing of this exhibition coincides with Vatican initiatives commemorating the 400th anniversary of Urban’s consecration of St. Peter’s Basilica in 1626. While the basilica’s construction spanned a century, Urban commissioned Bernini to create its most iconic interior elements, including the magnificent bronze baldacchino canopy over St. Peter’s tomb, recently restored for the Vatican’s 2025 Holy Year.

Even before ascending to the papacy, Cardinal Maffeo Barberini identified exceptional talent in the young Bernini that surpassed even that of his father Pietro, under whom he trained. According to co-curator Andrea Bacchi, Urban immediately recognized that Bernini “could become the Michelangelo of his century” upon assuming the papacy, commissioning numerous works that would define Baroque art.

Co-curator Maurizia Cicconi notes that their collaboration served dual purposes: advancing artistic excellence while reinforcing the Catholic Church’s primacy during a period of significant challenge to its authority. Italian Culture Minister Alessandro Giuli characterized the relationship as Urban VIII “governing through culture” by leveraging the skills of exceptional artists, with Bernini emerging as his favored “lost son” entrusted with monumental projects.

The exhibition deliberately focuses exclusively on the Urban-Bernini years, excluding the artist’s later masterpieces such as Piazza Navona’s Fountain of the Four Rivers and St. Peter’s Square colonnade, commissioned by subsequent popes. Instead, it traces the origins of Bernini’s papal commissions through rare sculptures, sketches, busts, and paintings gathered from international museums and private collections, including a Vatican-loaned model of Bernini’s bronze casing for St. Peter’s throne.

The presentation also addresses Urban’s complicated legacy, including his refusal to pardon Galileo Galilei and the controversial removal of bronze from the Pantheon for cannon production—actions that prompted contemporary criticism that “what the barbarians did not do, the Barberini did.” Despite these controversies, the exhibition credits Urban with identifying and nurturing Bernini’s genius, which would forever alter Rome’s architectural and artistic identity.

The show runs through June 14 at Palazzo Barberini, following the venue’s successful 2025 Caravaggio exhibition.