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destined to chase sunsets in different skies.

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Mihály Zichy - Falling Stars (1879)
Vincent van Gogh (1853 - 1890), The Starry Night, 1888, Oil on canvas, © Musée d'Orsay
The Starry Night
That does not keep me from having a terrible need of — shall I say the word — religion. Then I go out at night to paint the stars. — Vincent Van Gogh in a letter to his brother
The town does not exist except where one black-haired tree slips up like a drowned woman into the hot sky. The town is silent. The night boils with eleven stars. Oh starry night! This is how I want to die.
It moves. They are all alive. Even the moon bulges in its orange irons to push children, like a god, from its eye. The old unseen serpent swallows up the stars. Oh starry starry night! This is how I want to die:
into that rushing beast of the night, sucked up by that great dragon, to split from my life with no flag, no belly, no cry.
~ Anne Sexton
The poem reconfigures Van Gogh’s Starry Night not as a serene vision but as a violent, consuming force, transforming celestial beauty into a metaphor for self-annihilation. Stars are not tranquil; they “boil,” suggesting psychological unrest rather than awe. The single tree, likened to a drowned woman, evokes female suffering and bodily dissolution, recurring motifs in the author’s work.
Falling star, 1884 by Witold Pruszkowski
National Museum in Warsaw

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Mary L. Macomber - Night and Her Daughter Sleep (detail) 1988 Edward Robert Hughes - Night, undated
The Evening Star ('O Hesperus, thou bringest all good things') (from the poem 'Hesperus the Bringer' by Sappho, translated by 6th Lord Byron), 1846 - oil on canvas
— Robert Scott Lauder (England, 1803–1869)
“Meteorites, aerolites, and fireballs.” Elements of astronomy. 1868.
Night and Day (c. 1880-1885)
Artist: Edward Robert Hughes
"The Shooting Star" (L'Étoile filante) by J. J. Grandville, 1849.

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Shared disease
"Comet Donati", colour lithograph by Philippe Benoist, from Amédée Guillemin's Le Ciel (1877).
Evening Star (also known as L'Étoile du soir), (Detail), (1848), by Henry Pierre Picou (French, 1824 – 1895), signed 'HENRY PICOU' (lower right), oil on canvas, 54 × 35½ in. (137.2 × 90 cm.), Private Collection
12" by 12"
Frederick Sandys - Study of a Woman's Head, before 1904 Graphite pencil on green paper with white chalk 50.8 x 41.3 cm Museum of Fine Arts, Boston

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Henri Fantin-Latour - Flowers and Fruit
Ecstasy
Maxfield Parrish • Painting, 1929