AMSTERDAM: A "full body scan" carried out on the Van Gogh Museum's version of the Dutch master's iconic "Sunflowers" has shown the painting is not fit to travel because it's in "stable but vulnerable" condition, the museum's director said Thursday.
"We've decided that any stresses that the picture could be subjected to, was it to travel, was (it) to be lent, that those might be too risky," director Axel Rueger told The Associated Press in the studio where the painting is undergoing restoration. "Therefore, we decided that from now on we will not be able to lend the picture anymore to other exhibitions to other museums — so it will always stay in Amsterdam."
For Van Gogh fans who can't make it to Amsterdam, the predominantly yellow 1889 painting of a bunch of sunflowers in a vase is based on another version of the work painted a year earlier that is on display at London's National Gallery. Other versions of the work are in Philadelphia, Tokyo, and Munich.
The painting in Amsterdam is hardly a frequent flyer — it has only been loaned out six times, the last time to the National Gallery so it could hang next to that London museum's version.
Ella Hendriks, who worked on the current restoration project, said the painting underwent a series of tests she likened to a "full body scan" on a human patient. The tests used precision imaging machines to peer through the surface and decide what could and could not be done to the painting.
One test, usually used to examine retinas, gave a crucial insight by creating a "virtual cross-section" of layers of paint and varnish.
"We can see ... that the paint layer is mixed in together with the varnish layer so there's not a clear division between them," Hendriks said.
That discovery has limited the amount of work restorer Rene Boitelle can carry out. He will remove some patches of beeswax that was applied after Van Gogh finished the work and have now gone a milky white color, and will use special paint to rework some previous restorations to make them less visible.
To return the painting to its original state would involve removing the varnish, which Van Gogh did not apply to the painting. Also, some previous restorations are under the varnish and can't be treated.
"That varnish cannot be removed safely - at least not with the methods and materials available to us now," Boitelle said. "I can remove the wax but the retouchings are there to stay - at least for now."
The painting will go back on display at the museum Feb. 22 and an exhibition about the research and restoration will open in June.
That means Boitelle has just a few more weeks to incredibly carefully spruce up one of the world's most recognizable artworks.
"It's quite exciting, obviously, but I try not to be too aware and too conscious of all the myths and the iconic value that the painting has," he said. "After all it's still just a painting like so many we've treated here in this studio and I'll treat it with the same dedication and seriousness and concentration as I would treat any other painting that is not iconic."
Van Gogh’s ‘Sunflowers’ staying put in Amsterdam museum
Van Gogh’s ‘Sunflowers’ staying put in Amsterdam museum
From historic desert landscapes to sound stages: AlUla’s bid to become the region’s film capital
DUBAI: AlUla is positioning itself as the center of cinema for the MENA region, turning its dramatic desert landscapes, heritage sites and newly built studio infrastructure into jobs, tourism and long‑term economic opportunity.
In a wide‑ranging interview, Zaid Shaker, executive director of Film AlUla, and Philip J. Jones, chief tourism officer for the Royal Commission for AlUla, laid out an ambitious plan to train local talent, attract a diverse slate of productions and use film as a catalyst for year‑round tourism.
“We are building something that is both cultural and economic,” said Shaker. “Film AlUla is not just about hosting productions. It’s about creating an entire ecosystem where local people can come into sustained careers. We invested heavily in facilities and training because we want AlUla to be a place where filmmakers can find everything they need — technical skill, production infrastructure and a landscape that offers limitless variety. When a director sees a location and says, ‘I can shoot five different looks in 20 minutes,’ that changes the calculus for choosing a destination.”
At the core of the strategy are state‑of‑the‑art studios operated in partnership with the MBS Group, which comprises Manhattan Beach Studios — home to James Cameron’s “Avatar” sequels. “We have created the infrastructure to compete regionally and internationally,” said Jones. “Combine those studios with AlUla’s natural settings and you get a proposition that’s extremely attractive to producers; controlled environment and unmatched exterior vistas within a short drive. That versatility is a real selling point. We’re not a one‑note destination.”
The slate’s flagship project, the romantic comedy “Chasing Red,” was chosen deliberately to showcase that range. “After a number of war films and heavy dramas shot here, we wanted a rom‑com to demonstrate the breadth of what AlUla offers,” said Shaker. “‘Chasing Red’ uses both our studio resources and multiple on‑location settings. It’s a story that could have been shot anywhere — but by choosing AlUla we’re showing how a comical, intimate genre can also be elevated by our horizons, our textures, our light.
“This film is also our first under a broader slate contract — so it’s a proof point. If ‘Chasing Red’ succeeds, it opens the door for very different kinds of storytelling to come here.”
Training and workforce development are central pillars of the program. Film AlUla has engaged more than 180 young Saudis in training since the start of the year, with 50 already slated to join ongoing productions. “We’re building from the bottom up,” said Shaker. “We start with production assistant training because that’s often how careers begin. From there we provide camera, lighting, rigging and data-wrangling instruction, and we’ve even launched soft‑skill offerings like film appreciation— courses that teach critique, composition and the difference between art cinema and commercial cinema. That combination of technical and intellectual training changes behavior and opens up real career pathways.”
Jones emphasized the practical benefits of a trained local workforce. “One of the smartest strategies for attracting productions is cost efficiency,” he said. “If a production can hire local, trained production assistants and extras instead of flying in scores of entry‑level staff, that’s a major saving. It’s a competitive advantage. We’ve already seen results: AlUla hosted 85 productions this year, well above our initial target. That momentum is what we now aim to convert into long‑term growth.”
Gender inclusion has been a standout outcome. “Female participation in our training programs is north of 55 percent,” said Shaker. “That’s huge. It’s not only socially transformative, giving young Saudi women opportunities in an industry that’s historically male-dominated, but it’s also shaping the industry culture here. Women are showing up, learning, and stepping into roles on set.”
Looking to 2026, their targets are aggressive; convert the production pipeline into five to six feature films and exceed 100 total productions across film, commercials and other projects. “We want private-sector partners to invest in more sound stages so multiple productions can run concurrently,” said Jones. “That’s how you become a regional hub.”
The tourism case is both immediate and aspirational. “In the short term, productions bring crews who fill hotels, eat in restaurants and hire local tradespeople,” said Shaker. “In the long term, films act as postcards — cinematic invitations that make people want to experience a place in person.”
Jones echoed that vision: “A successful film industry here doesn’t just create jobs; it broadcasts AlUla’s beauty and builds global awareness. That multiplies the tourism impact.”
As “Chasing Red” moves into production, Shaker and Jones believe AlUla can move from an emerging production destination to the region’s filmmaking epicenter. “We’re planting seeds for a cultural sector that will bear economic fruit for decades,” said Shaker. “If we get the talent, the infrastructure and the stories right, the world will come to AlUla to film. And to visit.”
