Last Saturday was the official twentieth anniversary of Rosamond’s and my marriage (we celebrated it earlier in August with all the children and grandchildren). Our life together is as full of wonder (or more) than it was twenty years ago, but I won’t go mushy here.
She was downtown so I picked her up and we went to the Aquavella Gallery to see a retrospective show of Wayne Thiebaud’s work (more on that later). Suffice it to say that it was hard to leave the gallery. I had to wander through the rooms several times to make sure it was OK to leave.
We then went to lunch at Serafina’s. Rosamond had spinach crepes and I had a pasta with peas and mushrooms and a subtle sauce. A glass of pinot grigio slipped down nicely.
Then we walked over to the Metropolitan Museum. I had wanted to see the George Bellows exhibit, and still do since we went downstairs instead to see the exhibit of Bernini’s clay sculptures. He made them quickly as models for his monumental marble statues. I am not normally a fan of the Baroque (except in music), but the dynamism and expressiveness of Bernini’s statues is extraordinary. A year ago we were in Rome seeing the usual sights when someone suggested that a good way to finish off the day would be to go to the Piazza Navona for a drink at one of the bordering cafes. And there was the Four Rivers Fountain. I could have told you that Bernini was a seventeenth century sculptor but little more, so it came as a surprise, something new and unexpected that I felt I should have known about long before. But it was good that it was new. I had to walk around and around and around again to absorb it all, the almost distorted figures representing the different rivers, the water gushing and flowing, and the crouching lion slaking her thirst. At the show at the Met the clay version of the lion crouched, waiting to come to life in the Piazza Navona.