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The artist behind the official poster for the upcoming Paris Olympics responded to criticism alleging that his artwork neglects French identity and Christianity. Ugo Gattoni, the designer, defended his creation, describing it as a vibrant and celebratory depiction of Paris.

Critics, particularly conservatives, have taken issue with the absence of prominent symbols such as the French tricolour and a cross on the Hôtel des Invalides. Some politicians accused the creators of the poster of attempting to erase France’s history and identity.

Gattoni explained that his intention was to convey a lively and festive atmosphere, rather than making any political statements. He emphasized that the buildings in his artwork were drawn based on his creative vision, without any underlying agenda.

The organizing committee also defended the poster, describing it as a whimsical interpretation of a transformed city-stadium, featuring various sports and landmarks. They stressed that the inclusion of the French flag colors and other national symbols should dispel any politically motivated interpretations.

Meanwhile, the Hôtel des Invalides has become embroiled in another controversy concerning proposals for Saudi Arabia to construct an Olympic village on its grounds. The French Armed Forces Ministry stated that negotiations with Saudi Arabia were ongoing but emphasized that any use of the Invalides site would be subject to strict conditions.

Some politicians, including right-wing MP Nathalie Serre, voiced opposition to the idea, asserting that certain historical sites like the Invalides should not be subject to commercial interests.

The Paris Olympics are scheduled to take place from July 26 to August 11, followed by the Paralympics from August 28 to September 8.

Picture Courtesy: Google/images are subject to copyright

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According to an art historian, a Piet Mondrian abstract painting has been hanging upside down in different galleries for 75 years.  Despite the recent discovery, the painting, titled New York City I, will still be exhibited backwards to protect it from damage.

The 1941 image was first displayed in 1945 at the MoMA in New York. Since 1980, it has hung in Düsseldorf at the North Rhine-Westphalia state art collection.  The long-standing mistake was discovered by curator Susanne Meyer-Büser early this year when researching the museum’s new exhibition on the artist, but she cautioned that if it were placed the correct way at this time, it might fall apart.

New York City I is an adhesive-tape version of the similarly named New York City painting by the same artist.

The similarly called New York City, which is on exhibit at the Centre Pompidou in Paris, shows a thickening of lines towards the top rather than the bottom, which appears to support this notion.

Furthermore, the identical painting is visible hanging on an easel the wrong way up in a picture of the prominent Dutchman’s workshop that was shot a few days after his passing. In June 1944, the picture appeared in the American lifestyle publication Town and Country.

Picture Courtesy: Google/images are subject to copyright