hosaa's blog: February 2020

Never mind it's been November in my soul since the end of August, with last year's retirement begetting a seemingly endless march of funerals (and the one wedding on the fall calendar offset just three weeks ago by the last and most devastating of these rites). The usual course for most people is immersion among more people. This is not my way.

I'd already had a ticket for the February 12 Giselle at the Kennedy Center, starring my oft-discussed Daniil Simkin as Albrecht, and it was an outing I could not deny myself despite that morning's fatal news. My evening of solitary reflection among crowds was briefly and pleasantly interrupted before the theater opened as I sat with a gentleman (stranger to me) who loved music and dance and all things beautiful and heart-swelling. Enjoyable encounter. I even told him about the time I wrote a ballet during a National Symphony Orchestra open rehearsal of Mahler's Fifth ("My, My, Mahler" and "The Mahler Ballet").

That was pretty much the end of the enjoyable encounter with another solitary member of the crowd. The ballet was dreary. Act 1 was all acting, little dancing. Too many people on stage standing or sitting about with nothing to do. And other than a few fireworksy variations from Daniil and his Giselle (Sarah Lane) and the expected excellent corps work in Act 2, not much from Giselle's gang of "ghost bitches" could get my mind away from the personal sorrows at hand.

A week away to tend to the sorrows at hand, and I felt a little more ready to face the crowds for the next outing already on my calendar, Silent Sky by Lauren Gunderson at Ford's Theatre. Science, history, feminism, families, problem solving, romance, humor--a few of the starry elements crossing the sky. The tourist-heavy and generally youthful audience was exuberant and gave a well-deserved standing ovation. I love standing ovations at Sunday matinees. I always smile and say to Edward Duke, "See? They're not the worst houses!"

Ballet, theater ... two of the couches I crawl onto for my art therapy. The other is museums, particularly art museums.

Yesterday's excursion to the National Gallery of Art was inspired by the Washington Post review by Sebastian Smee (author of The Art of Rivalry) of the "True to Nature" exhibit. I got there in time for the 11 a.m. guided lecture and again had a delightful pre-tour chat with two like-minded strangers. Unfortunately I lost them in the crowd that followed our guide through three small and fully occupied rooms. I enjoyed what I could see, cornered by the crowd, but didn't have quite the same reflective experience Sebastian did.

Artist in a Renaissance Costume Sketching in the Arena of Nimes (1822) by Fleury Richard.

crowd

As is my custom, I went directly to the Garden Cafe for a Ladies Who Lunch lunch (alone in a smaller and quieter crowd). I think "garden cafe" is a sweet aesthetic; if and when I move, that might be my new design guide. The mouse (I think) scurrying across the floor rattled me a little, but not enough to scream out. Just pick up purse from floor and rest feet on the cafe table's ornamental iron legs.

Garden Cafe, ornamental legs and shadows

National Gallery of Art, Washington, D.C.: West facing East

The Sacrament of the Last Supper (1955) by Salvador Dali. (NGA link)

For the remainder of my visit, I went back to some of my favorite rooms (starting in Gallery 71) and looked more closely at pictures, observing specificity without detail (as with the True to Nature paintings).