The painting had been treated previously in 1933, probably by Louis de Wild, and
sensibility: “What set out to be a topical scene [Fête at Saint-Cloud] . . . has become a wild
sensibility: “What set out to be a topical scene [Fête at Saint-Cloud] . . . has become a wild
Rebecca (“Beck”) Salsbury (1891–1968) The daughter of the manager of Buffalo Bill’s Wild
for the beautiful young huntsman Adonis, and of how he was tragically killed by a wild
Orphée depicts many tragedies, but songwriter Dom Flemons finds the joy in it: it resolves in the beautiful scene of two lovers embracing. Flemons pairs it with the tranquil Blue Butterfly. The instrumental song helps the emotional weight sink in.
art, there’s an abstract quality that also allows for the imagination to just run wild
Emerson, Wild Life on a Tidal Water (London, 1890), preface.
Violinist Peter Sheppard Skærved and National Gallery director Kaywin Feldman discuss Hieronymus Bosch’s Death and the Miser and its symbolism of contrast: light and dark, life and death. Skærved plays a 17th-century violin sonatina that echoes similar contrasts of sensuality and fatality, beauty and mortality.
One is this wild D minor barabano, which has got that kind of death dance feel I’m
