A study in sweeping lines and fluid Art Deco ornamentation, this unique Bugatti was constructed by Carrosserie Vanvooren of Paris. From 1911 until the start of World War II, the automobiles of Ettore Bugatti, an authoritative and artistic Italian who lived in France for most of his life, competed successfully in international racing. Bugatti’s cars were stylish, temperamental, exclusive, and fast. He experimented with aerodynamics and pioneered the use of lightweight metals like magnesium. This one-of-a-kind, supercharged Type S7C belonged to Mohammad Reza Pahlavi, the last shah of Iran. When Pahlavi married Princess Fazia of Egypt, their nuptials were celebrated in Cairo. To flatter the future leader of a key oil-producing country, many nations sent lavish wedding presents, such as this luxurious car. Its windscreen can be lowered into the cowl for a sportier appearance.
Yesterday, we went to the art museum, to see the new exhibit—Ancient Splendor: Roman Art in the Time of Trajen. This visiting exhibit comes from Italy and features art that has never left that country before. Showcasing art from the height of the Roman Empire, this exhibit features art portraying everyday Roman life and at the highest zenith of Roman power.
Seen here are statues of Trajen and Caligula. Trajen was the second of the “five good emperors”, while Caligula, the third emperor, was arguably the worst and was eventually assassinated by his own bodyguards while still in office. The US has often been compared to Rome. Both were the superpowers of their day. And comparing Trajen and Caligula with our own leadership, both had good leaders and bad. Does Caligula transition from popular leader to notoriously capricious, cruel, and extravagant tyrant remind you of anyone else?
Yesterday, we went to the art museum. Driving to the DeMun neighborhood, we first had lunch at Barrio. Then we walked from there to the museum. The day’s weather was excellent, warm, almost eighty. Inside the museum, we immediately saw the Kiefer exhibit or at least part of it. It is a large show. Measured not only by the billboard size of its paintings, but also by the acreage of its display space. In addition to the original main hall, it is also using almost all of the new modern art wing. It makes a statement. The adage, size matters, seems to be its mantra. One that it is content to beat you over the head with. Anne liked the show, but I am less certain. I found much of his artwork too dark and foreboding.
American Ballet Theater Studio Company, Photo: Avery Brunkus
But wait there’s more. Last night, we attended a Dance St. Louis concert at the Touhill. Joanie and Anne are season ticket holders and once a season Dance STL (as they now like to be called) rewards their subscribers with a free ticket. Like last season, Anne invited me with her extra ticket and Joanie invited her knitting friend, Eileen. Last season’s show was Memphis’s College Dance Collective, who won my heart with a dance performed to a recorded Dean Martin singing That’s Amore. It was performed by a single African American dancer who wore only a dance belt (look it up). What endeared me was that just the day before I had been called out in Gyrotonics for wearing a t-shirt that rode up and exposed my butt crack. When the moon hits your eye, like a big pizza pie, that’s amore.
Last night’s show kicked off Dance STL’s 60th season, a milestone to be sure. The performance was by American Ballet Theater Studio Company, ABT’s farm team. We were in the cheap seats, the UMSL student section, where fellow spectators would burst into applause at the drop of a hat or a pause of a step. JV or not the performers were good. They performed mainly classical ballet. An exception was Cornbread by Twyla Tharp, a hat tip to us in flyover country.
