Lawyers for Alec Baldwin have reached a settlement over the lawsuit brought by the family of the cinematographer he shot and killed in October last year on the Santa Fe set of the film “Rust”.

The actor, who was also a producer on the film, was pointing a prop gun filled with live rounds at Halyna Hutchins when it went off, killing her and wounding the director, Joel Souza.

New Mexico’s Office of the Medical Investigator determined the shooting was an accident following the completion of an autopsy and a review of law enforcement reports.

“Terrible accident”

“We have reached a settlement, subject to court approval, for our wrongful death case against the producers of Rust including Alec Baldwin,” said a statement from Matthew Hutchins, widow of Hutchins and a plaintiff in the lawsuit along with their 9-year-old son Andros.

“As part of that settlement, our case will be dismissed. The filming of Rust, which I will now executive produce, will resume with all the original principal players on board, in January 2023.”

“I have no interest in engaging in recriminations or attribution of blame (to the producers or Mr. Baldwin),” Matthew Hutchins said in the statement. “All of us believe Halyna’s death was a terrible accident. I am grateful that the producers and the entertainment community have come together to pay tribute to Halyna’s final work.”

Rust filming to resume

Baldwin announced the settlement agreement in a social media post.

“Throughout this difficult process, everyone has maintained the specific desire to do what is best for Halyna’s son,” Baldwin said in the post. “We are grateful to everyone who contributed to the resolution of this tragic and painful situation.”

Baldwin has said the gun went off accidentally and that he did not pull the trigger. But a recent FBI forensic report found the weapon could not not have fired unless the trigger was pulled.

In April, New Mexico’s Occupational Health and Safety Bureau imposed the maximum fine against Rust Movie Productions and distributed a scathing narrative of safety failures, including testimony that production managers took limited or no action to address two misfires of blank ammunition on set prior to the fatal shooting.

Rust Movie Productions told safety regulators that misfires prior to the fatal shooting of Hutchins did not violate safety protocols and that “appropriate corrective actions were taken,” including briefings of cast and crew.

The agreement does not however spell the end of Baldwin’s legal wrangles over the film.

At least four other lawsuits brought by crew members remain, and the state of New Mexico has granted funds to pay for possible criminal prosecutions.

Philippe Parreno, a French artist known for his large-scale installations, designed the stage for Louis Vuitton’s runway show during Paris Fashion Week.

The set, a monumental installation shaped like a blooming flower, was located in the courtyard of the Louvre. It was constructed of red nylon fabric panels to create a circular form that at its highest point rose to more than 90 feet.

Collaborating with production designer James Chinlund and Nicolas Ghesquière, the French luxury house’s womenswear creative director, Parreno said the concept for the installation was inspired by circuses.

In an interview with the Times, Parreno said he used red curtains and mirrors to create a carousel-like atmosphere that plays on those themes. Models dressed in Ghesquière’s designs, replete with gigantic zippers, walked through Parreno’s stage in circles.

Throughout, flashing bulbs provided the lighting in a way that was reminiscent of sculptures produced by Parreno. In 2015, for example, the artist showed 27 of these works at New York’s Park Avenue Armory.

Ghesquière remarked that Parreno’s carnival concept reflects a “nomadic” mode that is typical of fashion weeks, for which hoards of international spectators flock to urban hubs.

Parreno was not the only artist tapped for collaborations during Paris Fashion Week.

A painting of a Jamaican man that has been hidden away from public view for years has been identified as a work by Richmond Barthé, a key figure within African American art history.

The painting, titled Seated Man in a Landscape, dates back to the 1950s, during a period when Barthé was based in Jamaica. But art historians did not know that he was the author of the work because the attribution was “incorrectly transcribed,” according to the National Trust, the U.K. organization that announced the new research done on the painting

The National Trust plans to put the piece on view at Belton House in Lincolnshire starting on Thursday. The painting’s display is meant to coincide with Black History Month in the U.K.

Belton House, which owns the work, has never before put the piece on display. The National Trust said it did not know how the work had arrived at Belton House in the first place, although the organization speculated that it may have been acquired by Perry Brownlow, who lived from 1899 to 1978 and had a vacation home in Jamaica.

The late art historian Margaret Rose Vendryes, an expert in Barthé, conducted the research on the painting in collaboration with Alice Rylance-Watson, an assistant curator at the National Trust. Together, they also identified the painting’s sitter as Lucian Levers, a worker at Barthé’s studio in St. Ann Parish.

“We are delighted to be able to identify Lucian Levers as the sitter as it can be difficult to name black individuals who appear in historic portraits, chiefly because of a lack of documentation,” Rylance-Watson said in a statement.

Barthé is best known as a sculptor of images of African American men, whose bodies he rendered in exacting detail. These works achieved fame during the mid-20th century in the U.S., and he moved to Jamaica to escape the violence he encountered in New York and the attention being lavished upon him countrywide. He also spent time in Haiti, where he designed coins and built a monument to Toussaint Louverture in Port-au-Prince.