The Lovers’ Chronicle 16 July – impression – art by Jean-Baptiste-Camille Corot

Dear Zazie,  Here is Mac Tag‘s Lovers’ Chronicle to his muse.  Follow us on twitter @cowboycoleridge.  Rhett

The Lovers’ Chronicle

Dear Muse,

a tremblin’ woman’s falsetto,
comes out of the silence
it produces
in my half
awakened brain,
impressions of you
it is an affirmation
to seek the origins
and inspirations
behind what drives
two to become one
a firm resolution,
and independent nature,
hold fast to this need

© copyright 2020 mac tag/cowboy coleridge all rights reserved

learned from experience
to begin by drawin’ on
a virgin canvas, knowin’
the desired effect, then,
as immediately finished
as one can, so that when
it has all been covered
there is little to retouch
wherever these dreams
and memories of you take me,
this is how they shall be taken

© copyright 2019 mac tag/cowboy coleridge all rights reserved

“Are you ok?”
never otherwise…

not only the arid air,
the wide open spaces,
and of course, the light,
seized the attention
another entrancement
began that day

their hair, their skin,
their eyes, their hands
surpass all others

despite this strong attraction,
there can be but one purpose
to pursue relentlessly…
to seek the origins
and inspirations
behind what drives
two to become one

a firm resolution,
and independent nature,
holds fast to this one need

© copyright 2018 mac tag/cowboy coleridge all rights reserved

a tremblin’ woman’s falsetto,
comes out of the silence
it always produces
in my half-awakened brain,
an impression of you

© copyright 2017 Mac tag/cowboy Coleridge all rights reserved

 

Today is the birthday of Jean-Baptiste-Camille Corot (Paris; July 16, 1796 – February 22, 1875 Paris); landscape and portrait painter. He is a pivotal figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism.

With his parents’ support, Corot followed the well-established pattern of French painters who went to Italy to study the masters of the Italian Renaissance and to draw the crumbling monuments of Roman antiquity.  It was not only Italian architecture and light which captured Corot’s attention. The late-blooming Corot was entranced with Italian females as well: “They still have the most beautiful women in the world that I have met….their eyes, their shoulders, their hands are spectacular. In that, they surpass our women, but on the other hand, they are not their equals in grace and kindness…Myself, as a painter I prefer the Italian woman, but I lean toward the French woman when it comes to emotion.”  In spite of his strong attraction to women, he wrote of his commitment to painting: “I have only one goal in life that I want to pursue faithfully: to make landscapes. This firm resolution keeps me from a serious attachment. That is to say, in marriage…but my independent nature and my great need for serious study make me take the matter lightly.”

Gallery 

Portrait circa 1850

Portrait circa 1850

Une matinée ~ Danse des Muses

Une matinée ~ Danse des Muses

 Woman with a Pearl, 1868–70, Paris: Musée du Louvre

A Woman Reading, 1869/1870, Metropolitan Museum of Art

 

 La Trinité-des-Monts, seen from the Villa Medici, 1825–1828, oil on canvas. Paris: Musée du Louvre.

 

The Bridge at Narni, 1826, oil on paper. Paris: Musée du Louvre. A product of one of the artist’s sojourns to Italy

 

 View of the Forest of Fontainebleau (1830)

 

Venise, La Piazzetta, 1835

 St Sebastian Succoured by Holy Women, between 1851 and 1873, oil on canvas, The Walters Art Museum

 

Ville d’Avray, ca. 1867, oil on canvas. Washington, D.C.: National Gallery of Art.

 

Bornova, İzmir, 1873

 

 

Monk Reading Book, 1850-1855

Mac Tag

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