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    Inside an art coup

    Great art mystery takes center stage in Houston: There's a secret underneath a Picasso treasure

    Tyler Rudick
    Mar 18, 2013 | 5:49 pm

    There's a secret lurking beneath Woman Ironing, the 1904 canvas that greets visitors as they step into Picasso Black and White at the Museum of Fine Arts, Houston.

    Produced in Paris when the legendary artist was still relatively unknown, the portrait depicts an almost-skeletal woman pressing clothes in a darkened room. She leans into her work with both arms, struggling amidst a muted palette of dark blues and grays.

    Woman Ironing has intrigued scholars for decades since a 1989 infrared scan revealed an upside-down portrait of a man located just below the surface.

    Long-considered a hallmark of Picasso's somber Blue Period, the piece has intrigued scholars for decades since a 1989 infrared scan of the canvas revealed an upside-down portrait of a man located just below the surface. But due to limitations in imaging technology, little has been known of the male sitter or if Picasso himself even painted him.

    Thanks to a grant from the Bank of America Art Conservation Project — the same initiative that helped restore several John Chamberlain works at the Menil Collection — conservators at New York's Guggenheim Museum, which owns the piece, have been able to clean and restore Woman Ironing to the point that imaging devices show a surprisingly clear picture of Picasso's subject.

    Click here to see the Guggenheim's impressive website dedicated to the conservation project. Don't miss the cool interactive feature that shows the painting via X-ray and infrared.

    A recent New York Times article notes that, while the jury is still out on the identity of the mystery man, scholars widely agree on two possibilities — Fernández de Soto, a sculptor whose portrait the artist painted in 1901, or fellow Parisian painter and noted Picasso rival Ricard Canals.

    Picasso Black and White is on view through May 27 in the Beck Building of the Museum of Fine Arts, Houston.

    Pablo Picasso, Woman Ironing (La repasseuse), Paris, 1904, oil on canvas, Solomon R. Guggenheim Museum, New York, Thannhauser Collection, gift of Justin K. Thannhauser, © 2012 Estate of Pablo Picasso Artists Rights Society (ARS)

    Picasso, Woman Ironing
    Guggenheim.org
    Pablo Picasso, Woman Ironing (La repasseuse), Paris, 1904, oil on canvas, Solomon R. Guggenheim Museum, New York, Thannhauser Collection, gift of Justin K. Thannhauser, © 2012 Estate of Pablo Picasso Artists Rights Society (ARS)
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    news/entertainment

    Movie Review

    Shaun the Sheep welcomes spooky season with PG-scary new movie

    Alex Bentley
    Sep 18, 2026 | 2:30 pm
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
    Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

    Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

    His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

    However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

    Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

    With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

    The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

    Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

    ---

    Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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