The Lovers’ Chronicle 13 January – solace – art by Chaïm Soutine

13 January 2024 By Rhett 0 In Random

Dear Zazie, Here is today’s Lovers’ Chronicle from Mac Tag dedicated to his muse. Rhett

The Lovers’ Chronicle

Dear Muse,

i did not believe myself, you know, although i was attracted by it from time to time, back when i was pretendin’ at bein’ me, and then came the time of wallowin’ in without and the solace found there, but then i yielded to its influence almost in spite of myself, and it is more than i hoped and all that matters and i am amazed

the words that bind

acceptin’ the promise

now here, were we not

chosen, yes, i want that

how strongly it keeps

undone, what came before

what is the name of the place

where your heart aspires

ascension, regardless of will

time to finish the song

i want to hear us sing

tried to paint

a true portrait

thought i could see it,

and i was close,

but i could not

time and distance

intervened and tried

to alter it, but

somehow

it would not change

and finally comin’

into focus, i can see,

since that decade ago day

the nature of this bond

Pale Love, Pale Rider

from this view of hurt
in the grip of feelin’s,
overcome the grief

repentance calls

possession prefers
the pleasure of reverence

point of no return
the vow binds to veneration

rather than accept the promise
lost reason for remembrance
impose self-denial to keep goin’

now penance directs
acceptance, satisfaction
no, little beyond reproach
and want, how wrongly it keeps

kept undone
for solace
but farewell

what is the name of the place
where aspirations, regardless
of intent, will probe where tends
the mystery, and confirm ascension

unwanted is
as unwanted does

this continues,
to feel so good
about bein’ here

a smile, i know
it only makes
a certain sorta sense
but there it was
the pull is strong
and i succumb

tho there is no denyin’
i know where lies,
in another kinda smile,
the true, best purpose

for now, however,
as the snow falls
and the temperature
heads for sub-zero;
another log for the fire
more aged Hendrick’s
and the solace
of this vision,
voices from the past,
the pursuit of verse
and light, provides
shelter from the storms

true portrait drawn then

since erased
face of truth
want without seein’,
without regret
apologize, yet not
you git the point
too hidden to be recognized
unable to fear, this is the time
in all that appears, but not there
yet hidden behind everything
continuous

as the aim of despair draws near,
and for little that it offers,
would have seen me aver

concur blindly from this view of hurt
when in the grip of sincere feelin’s,
resentment overcame the good
when repentance called
a possession of the pitiful
a preferred graven crown
the pleasure of reverence

point of no return
and the vow that binds to veneration
but rather than acceptin’ the promise
lost reason for remembrance
impose self-denial in order to maintain

now in Her trance; to direct penance
had i accepted; vengeance satisfied
no, would have little beyond reproach
and i want that; how it wrongly keeps me

me, kept undone; a motive for Her darkness
my soul, She remits to eternity

what is the name of the place
where your heart aspires
ascension, regardless of your intent

but farewell will probe where tends the mystery,
and confirms my refusal

Chaïm Soutine
Chaim Soutine (with signature)

Today is the birthday of Chaïm Soutine (Smilavichy, Russian Empire 13 January 1893 – 9 August 1943 Paris); painter of Belarusian Jewish origin. Soutine made a major contribution to the expressionist movement while living in Paris. Inspired by classic painting in the European tradition, Soutine developed an individual style more concerned with shape, color, and texture over representation, which served as a bridge between more traditional approaches and the developing form of Abstract Expressionism.

Gallery

Portait de Madeleine Castaing, v. 1929

Amedeo Modigliani, Portrait de Chaïm Soutine (1916)

Autoportrait, vers 1917, huile sur toile (54,6 × 45,7 cm). Soutine n’aimait guère se peindre, et ne l’a fait qu’au début de sa carrière.

Nature morte à la lampe, vers 1916 (huile sur toile, 65,3 × 54,4 cm).

Nature morte à la soupière, vers 1916 (huile sur toile).

Nature morte aux harengs et aux oignons, vers 1917 (huile sur toile, 61,3 × 37,9 cm).

Nature morte avec violon, pain et poisson, vers 1922 (huile sur toile, 21,25 × 25,5 cm).

Les Glaïeuls, vers 1919, huile sur toile (46 × 56 cm). Ici apparaît et éclate le fameux rouge vermillon de Soutine.

La Maison blanche, 1918 (huile sur toile, 50 × 65 cm).

Paysage avec personnages, vers 1919 (huile sur toile, 80 × 60 cm).

Paysage aux toits rouges, 1919 (huile sur toile, 65,5 × 50,1 cm).

Les Platanes à Céret, vers 1920 (huile sur toile, 72,5 × 53,5 cm).

Les Maisons, vers 1921 (huile sur toile, 92 × 58 cm).

Le Petit Pâtissier, vers 1923, huile sur toile (54 × 73 cm). Celui qui a ravi Albert Barnes, changeant le destin de Soutine, a une oreille bien plus énorme.