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"The modern world is built on commodities - from the oil that fuels our cars to the metals that power our smartphones. We rarely stop to consider where they have come from. But we should. In The World for Sale, two leading journalists lift the lid on one of the least scrutinised corners of the world economy: the workings of the billionaire commodity traders who buy, hoard and sell the earth's resources. It is the story of how a handful of swashbuckling businessmen became indispensable cogs in global markets: enabling an enormous expansion in international trade, and connecting resource-rich countries - no matter how corrupt or war-torn - with the world's financial centres. And it is the story of how some traders acquired untold political power, right under the noses of western regulators and politicians - helping Saddam Hussein to sell his oil, fuelling the Libyan rebel army during the Arab Spring, and funnelling cash to Vladimir Putin's Kremlin in spite of western sanctions. The result is an eye-opening tour through the wildest frontiers of the global economy, as well as a revelatory guide to how capitalism really works."

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Graphic arts --- prints [visual works] --- lithographs --- Goya y Lucientes, de, Francisco José

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Book history --- Museo Nacional del Prado

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76 "15/16" --- 769 <460 MADRID> --- Grafische kunsten. Grafiek. Prentkunst--16e-17e eeuw. Periode 1501-1700 --- Prentenverzamelingen--Spanje--MADRID --- 769 <460 MADRID> Prentenverzamelingen--Spanje--MADRID --- Graphic arts --- court art --- Droeshout, Martin --- Beer, de, Cornelis --- Noort, Juan de --- Philip III [King of Spain] --- Schorkens, Jan --- Boel, Cornelis --- Astor, de, Diego --- Panneels, Herman --- Perret, Pieter --- Popma, de, Alardo --- Courbes, de, J. --- National Library of Spain [Madrid] --- Spain --- prints [visual works] --- Engraving, Baroque --- Engraving, European --- European engraving --- Baroque engraving --- Engravings, Baroque --- Engraving --- Espanja --- Spanien --- Hiszpania --- Spanish State --- España --- Estado Español --- Espagne --- Hispania --- Sefarad --- Sepharad --- Shpanye --- Shpanie --- Reino de España --- Kingdom of Spain --- Reino d'Espanya --- Reinu d'España --- Espainiako Erresuma --- Regne d'Espanya --- Reiaume d'Espanha --- Espanya --- Espanha --- スペイン --- Supein --- イスパニア --- Isupania --- Kings and rulers --- Art patronage --- History --- Noort, de, Juan

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During the spring of 2017, the Museum of Fine Arts Ghent (MSK) brought together two artists in the newly established Drawings Cabinet. The exhibition Eyewitness linked the social criticism of the Spanish artist Francisco Goya (1746-1828) to the social commitment of the Iranian artist Farideh Lashai (1944-2013), in a shared indictment against violence and oppression.&#13;&#13;In 2015, the MSK acquired a copy of Los Desastres de la Guerra (The Disasters of War) by Francisco Goya. This series of engravings depicting the horrors of war was created between 1810 and 1820, during the Spanish War of Independence against the Napoleonic occupation. It was never shown by Goya during his lifetime. Working in an era of war and oppression, Goya explicitly broke away from the bombastic rhetoric of classical painting: instead of glorious heroes he depicted ordinary citizens struggling to survive during the war. The cycle is considered a universal indictment against all forms of violence.&#13;&#13;The Iranian artist and writer Farideh Lashai also worked in a time of conflict and oppression. In her drawings and prints, she combined the picturesque landscapes of her homeland with the techniques of contemporary art. For her last work, When I Count, There Are Only You ... But When I Look, There Is Only a Shadow (2011-2013), Lashai united Goya’s Desastres with her own video projections. In her subtle but subversive video installations, she takes a critical look at the political situation and difficult living conditions in Iran. For this reason, her oeuvre remains of great contemporary relevance.&#13;&#13;In Eyewitness, the MSK demonstrated how the past and present are intimately intertwined. Born almost exactly 200 years apart, Goya and Lashai were chroniclers of the conflicts in their respective countries. Both experienced radical social upheavals and were forced to work in periods of repression and censorship. They both used art, and even humour, to take their own unique stands against the injustices that they witnessed.&#13;&#13;To do this, they employed a variety of techniques and visual languages. By placing their work in dialogue, the MSK aims to encouraged visitors to see the positive change in contemporary society through a better understanding of the past. Two centuries have elapsed since Los Desastres was created but the message remains internationally relevant, especially in the light of the numerous conflict situations that have arisen in recent years…

Goya, Francesco --- Lashai, Farideh --- Goya y Lucientes, de, Francisco José --- Goya y Lucientes, Francisco José de, --- Lashai, Farideh, --- 7.07 --- 76.07 --- Thema's in de kunst: oorlog, opstand, geweld, verdrukking, ooggetuigen --- Goya, Francisco 1746-1828 (°Fuendetodos, Saragossa, Spanje) --- Lashai, Farideh (1944-2013, °Rasht, Iran) --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Grafische kunst ; grafische kunstenaars A-Z