Belgium has announced it will accelerate the delivery of surplus Lockheed Martin F-16 fighters to Ukraine. Instead of delivering three flyable F-16s before the end of the year, Brussels will ship 10.

It's unclear how many will be flyable. Previously, Belgian officials explained the first seven secondhand F-16s would include just three airworthy examples. The other four would be broken down for spare parts.

It's good news for Ukraine, but hardly cause for nationwide celebration. The handful of flyable F-16s that should arrive in the coming two months could make good recent F-16 losses. But those shipping-soon Belgian F-16s won't actually grow Ukraine's F-16 fleet by much, if at all.

The dozens of supersonic F-16s in action in Ukraine fly often and fight hard. They shoot down Russian drones and cruise missiles, tangle with Russian warplanes, and lob precision glide bombs at Russian forces on the ground. Russia launched about 2,000 jet-powered drones at Ukraine in September, up from some 350 in June, and F-16s are among the few weapons fast enough to catch them, the Wall Street Journal's editorial board noted. Every 300 flying hours, each jet must go abroad for a lengthy inspection.

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Ukraine loses another F-16 to onboard emergency

The main constraint on the pace of F-16 sorties, besides maintenance demands and the availability of trained pilots, is munitions: running low or out of air-to-air missiles and glide bombs, the F-16s routinely aim their 20-mm guns at Russian targets. But even 20-mm ammunition sometimes runs low.

The busy F-16s and their equally busy pilots need reinforcement. But reinforcements are slow coming. Belgium is only slightly accelerating its F-16 shipments amid reports it will eventually give Ukraine all 53 F-16s it's gradually retiring as new Lockheed Martin F-35 stealth fighters arrive to re-equip the Belgian air force.

Further complicating the picture, Norway's six F-16s, promised in 2023, were still being refurbished in Belgium this spring. Some arrived there in pieces.

Yes, Ukraine got 24 fight-ready F-16s from the Netherlands and most of the 19 Denmark promised. But it's lost five of those jets since 2024. And others are so worn out from relentless flying that they're badly in need of maintenance. The Belgian firm Sabena, which services Ukrainian F-16s, has struggled to keep up, and President Volodymyr Zelenskyy has said about half of the jets spend long stretches abroad for repairs. That slows the return of repaired planes and further squeezes the front-line force.

One wing, too few jets

In short, it's possible the Ukrainian air force's 107th Aviation Wing, its sole F-16 unit, has fewer than 40 ready-to-fight F-16s. Those 53 Belgian F-16s will help grow the wing, but piecemeal. Ukraine should expect a handful of operational jets from Belgium this year. Under a schedule from May, the last 27, half the total, may not arrive until 2029.

To be clear, additional F-16s support the 107th Aviation Wing. The Netherlands sold 18 of its old F-16s to Romania for a token price in order to equip a training squadron, funded by a consortium of Ukraine's allies, that feeds trained pilots to the 107th Aviation Wing. But these 18 jets aren't available for front-line use. They don't even legally belong to Ukraine.

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Ukraine is running short of its best missiles for hunting Russia’s jet drones. Now MiG-29s are firing 1970s weapons

The delays in supplies of combat-ready F-16s matter because the Ukrainian air force is under stress. Its last few dozen ex-Soviet warplanes, including Mikoyan MiG-29 and Sukhoi Su-27 fighters, are even older and wearier than the ex-European F-16s are. And they've suffered staggering losses in the air and on the ground in nearly 56 months of hard fighting in the wider war.

The air force does have a few ex-French Dassault Mirage 2000s that are at least as capable as the F-16s, but France has donated only a handful of the supersonic jets—and one has crashed. Any further supplies of Mirage 2000s could be complicated by the French presidential election in April 2027. The leading far-right and far-left parties are both friendly toward Russia and hostile to Ukraine.

Some relief is coming, although not quickly. Sweden has pledged 16 surplus JAS-39C/D Gripen fighters to the Ukrainian war effort; the first of these could arrive early next year. Later on, Ukraine also plans to buy 20 newer JAS-39E/Fs. Kyiv has also negotiated to purchase 16 new Rafale fighters from Paris, but the soonest these could arrive is 2028.

For now, F-16s are the main solution to Ukraine's air defense problems. Kyiv surely wishes it had more of them, sooner.

Belgian foreign minister urges further EU sanctions and links attack to Israel’s ‘illegal settlement policy’

Masked settlers attacked a group of European diplomats during a visit to the occupied West Bank on Saturday, Belgium’s foreign minister said, on a second day of high-profile assaults on Palestinians and others during the sensitive olive harvest.

At least four people have been killed and more than 100 injured since the harvest began earlier this month, according to the Palestinian health ministry. Activists say Israeli authorities do little to stop attacks that involve weapons ranging from slingshots to guns. An attack on Friday seriously injured a Washington Post photographer and others.

Brussels, 17 October, (Brussels Morning Newspaper) – Belgian authorities have arrested a 26-year-old man in connection with the violent killing of a mother of two in Saint-Gilles, Brussels. The suspect was detained three days after the woman’s body … Read more

A new exhibition in Belgium brings together a 1956 painting by Paul Delvaux and its original preparatory drawing, revealing how the artist transformed his composition and concealed elements beneath the finished work.

Scientific examination of a painting by Belgian surrealist Paul Delvaux has revealed significant changes to its original composition, including figures and other details concealed beneath layers of paint. The findings are being presented in a new exhibition opening on 16 October at Musée L in Louvain-la-Neuve.

The exhibition, La Ville lunaire II: The Hidden Side of Paul Delvaux’s Painting, examines a work completed in 1956 and held in the museum’s permanent collection. Through X-ray imaging, infrared reflectography and ultraviolet examination, researchers have been able to investigate the artist’s working methods and compare the finished painting with an original preparatory drawing.

The exhibition, which runs until 7 February 2027, follows the acquisition of the drawing by the King Baudouin Foundation in 2024. Its subsequent deposit at Musée L has made it possible to examine the two works together and reconstruct the development of a composition that underwent substantial alterations.

A Painting Concealing Its Own History

Completed in June 1956, La Ville lunaire II depicts a mysterious nocturnal landscape, with a long avenue, buildings, streetlamps and figures arranged within an unsettling architectural setting.

The painting measures approximately 89 by 139 centimetres and was executed in oil on a fibreboard panel. It entered the museum’s collection in 1990 through a bequest from Dr Charles Delsemme.

Its carefully constructed perspective and unusual treatment of space reflect Delvaux’s interest in creating scenes that appear familiar while remaining detached from ordinary reality.

The museum’s collection records describe the work as a strange nocturnal landscape, with wooden barriers and a sequence of streetlamps establishing its distinctive spatial arrangement.

Yet the painting visible today differs considerably from the composition Delvaux originally envisaged.

Earlier technical examinations had already established that important details were covered during the painting process. The new exhibition brings those findings into direct comparison with the preparatory drawing, enabling visitors to see how the artist’s intentions changed.

An auction catalogue published in 2024 identified several elements present in the drawing and concealed in the painting, including a moon in the right-hand sky, a seated figure on the right and two figures wearing robes near the centre.

These changes are significant because they suggest that Delvaux did more than adjust minor details. He altered the population and lighting of the scene, potentially changing how the composition would be experienced by the viewer.

The reasons for those decisions remain uncertain.

How Scientific Technology Reveals Hidden Paintings

Modern conservation techniques allow researchers to examine works of art without removing the paint that covers earlier stages of their creation.

Infrared reflectography can reveal underdrawings and certain changes concealed beneath surface paint, depending on the materials used by the artist. X-ray imaging can detect differences in the composition of pigments and structures below the visible surface.

Ultraviolet examination provides further information about surface materials and alterations, including some later interventions.

When combined with documentary evidence, these methods help researchers distinguish between an artist’s initial design, revisions made during painting and changes introduced after completion.

The Musée L exhibition uses these techniques to investigate what art historians call pentimenti — visible or detectable alterations that record an artist changing their mind during the creative process.

The preparatory drawing, measuring approximately 28 by 45 centimetres, provides an additional reference point. Executed in ink and pencil, it contains elements that were subsequently revised or painted over in the final composition.

Displayed alongside the finished work, it allows visitors to follow the artist’s decisions from the preliminary design to the version that eventually entered the museum’s collection.

The technical findings also demonstrate the importance of preserving preparatory studies, which can contain information absent from completed paintings.

Paul Delvaux and the Belgian Surrealist Tradition

Born in Antheit in 1897, Paul Delvaux became one of Belgium’s best-known twentieth-century painters, developing a distinctive artistic language associated with surrealism.

His paintings frequently depict classical buildings, railway stations, deserted streets and solitary figures, often arranged in environments where architectural precision contrasts with an atmosphere of uncertainty.

He was influenced by the Italian painter Giorgio de Chirico, whose deserted urban spaces and dramatic perspectives helped establish the visual language of metaphysical painting.

Delvaux’s relationship with de Chirico has been examined extensively by art historians, including Joël Roucloux, whose study of La Ville lunaire II analysed its architectural perspective, shadows and the psychological effect of its composition.

The painting’s apparently moonlit setting is particularly interesting in light of the concealed moon identified by technical examination.

The absence of that celestial body from the final visible composition changes the relationship between the painting’s title and its visual content, leaving the viewer to interpret the source of its unusual illumination.

This approach distinguishes Delvaux from other Belgian surrealists, including René Magritte, whose work frequently relied on recognisable objects placed in logically contradictory situations.

For Delvaux, architecture, perspective and the arrangement of human figures were equally important in constructing a world that appears coherent but resists conventional interpretation.

A New Examination of a Familiar Work

The exhibition forms part of Musée L’s programme devoted to research into its permanent collections, rather than a conventional retrospective of the artist’s career.

Its central purpose is to explain how a single painting developed, from its first drawn composition through successive revisions to its completed form.

The research has been supported by the Jacqueline Delcourt-Nonkels Fund, managed by the King Baudouin Foundation.

For visitors, the opportunity is to examine not only a painting by one of Belgium’s leading surrealists, but also the evidence of the artistic decisions that shaped it.

The exhibition is open at Musée L in Louvain-la-Neuve from 16 October 2026 to 7 February 2027. By presenting the original drawing, technical images and finished painting together, the museum offers a detailed examination of Delvaux’s methods and the changes he made to one of his most carefully constructed nocturnal scenes.