The Lovers’ Chronicle 13 March – right here – art by Hans Gude, Alexej von Jawlensky & William Glackens – photography by Bunny Yeager

13 March 2024 By Rhett 0 In Love, Poems, Random, Songs

Dear Zazie, Here is today’s Lovers’ Chronicle from Mac Tag. Every day; with or without love for you? Rhett

The Lovers’ Chronicle

Dear Muse,

from the Van Halen song, of course
“Most of them could be traced there”
ha, true i have weakness for all VH songs
“We all should follow our musical urges”
this day has an alternate theme from
one of my favorite David Byrne songs,
“Tiny Apocalypse”
“Great song”
from when my days were governed
by movin’ from one tiny
apocalypse to the next
“And now”
they are all about
right here, right now

every day with you
(fill in your favorite
phrase for blissful)

complete
not wasted
meaningful
with purpose

a little deeper
the past laid to rest
gittin’ through
right here
where i belong

not longer waitin’
for the next
little apocalypse
a lot closer
lookin’ like the way in

Pale Love Pale Rider

every day
without you
(fill in your favorite
word for sadness)

incomplete
wasted
meaningless
without purpose

a little deeper
dealin’ with regret
tryin’ to get through
more out of control

a little apocalypse
a lot closer
lookin’ like no way out
strugglin’ with forgiveness

has it been right there
in front of us all along

time and again, choices
have proven for certain
that we were searchin’
in all the wrong places

is it time to stop lookin’
for what we already have,
what is right here, right now

This was inspired by a line from the David Byrne song, “Tiny Apocalypse” (which is not the SOD because it is not about love or the lack thereof). I first heard the song from the Oliver Stone movie, Wall Street Money Never Sleeps which I watched again the other day. (We here at TLC have a soft spot for New York City and Wall Street. Long story, maybe someday I will tell why.) So the line, “every day a little apocalypse” stuck in my head and this is what came out. Hope you like……

Every Day (Without You)

Every
Damn day
Every
Dark day

Without you

Every day sad

Every day lost

Every day bleak
Every day stark

Without you

Every day incomplete

Every day wasted time
Every day meaningless
Every day without purpose

Without you

Every day a little deeper
Every day dealin’ with regret
Every day tryin’ to get through
Every day more out of control

Without you

Every day a little apocalypse
Every day just a little bit closer
Every day lookin’ more like no way out
Every day still strugglin’ with forgiveness

Without you

Every day another apocalypse
Every day a whole lot deeper
Every day wastin’ time
Every day lost
Every
Damn
Day

Without you

Hans Gude
Hans Gude

Today is the birthday of Hans Fredrik Gude (Christiania, United Kingdoms of Sweden and Norway 13 March 1825 – 17 August 1903 Berlin); romanticist painter and in my opinion, along with Johan Christian Dahl, one of Norway’s foremost landscape painters. He has been called a mainstay of Norwegian National Romanticism. He is associated with the Düsseldorf school of painting.

Gude’s artistic career was not one marked with drastic change and revolution, but was instead a steady progression that slowly reacted to general trends in the artistic world. Gude’s early works are of idyllic, sun-drenched Norwegian landscapes which present a romantic, yet still realistic view of his country. Around 1860 Gude began painting seascapes and other coastal subjects. Gude initially painted primarily with oils in a studio, basing his works on studies he had done earlier in the field. However, as Gude matured as a painter he began to paint en plein air and espoused the merits of doing so to his students. Gude would paint with watercolors later in life as well as gouache in an effort to keep his art constantly fresh and evolving, and although these were never as well received by the public as his oil paintings, his fellow artists greatly admired them.

Gallery

Bridal Procession on the Hardangerfjord, by Adolph Tidemand and Gude

By the Mill Pond, (1850)

Fresh breeze off the Norwegian coast

Eføybroen, Nord-Wales

Artist	Gude
Year	1863
Medium	Oil on canvas
Dimensions	41.5 cm × 55.5 cm (16.3 in × 21.9 in)
Location	National Gallery of Norway, Oslo

Fra Chiemsee

Artist	Gude
Year	1868
Medium	Oil on canvas
Dimensions	145 cm × 208 cm (57 in × 82 in)
Location	Private Collection

Landscape Study from Vågå, 1846
Tessefossen I Vaga I Middagsbelysning, 1848
Hardanger fjord
Under eketreet or Under the Oak (1858)
Spinnkusten längs Sörlandskusten (1872)
Hvile på stien or Resting on the path (1878)
Fisker fra Rügen, or Fishermen from Rügen, (1882).
Høifjell, 1857
Damer i solskinnet or Ladies in the sunshine (1883)
Kaien på Feste i nær Moss (1898)

Alexej von Jawlensky
Self-portrait, 1905

Alexej Georgewitsch von Jawlensky (Torzhok, Tver Governorate 13 March 1864 – 15 March 1941 Weisbaden, Germany); expressionist painter active in Germany. He was a key member of the New Munich Artist’s Association (Neue Künstlervereinigung München), Der Blaue Reiter (The Blue Rider) group and later the Die Blaue Vier (The Blue Four).

He met Emmy Scheyer in 1916 (Jawlensky gave her the affectionate nickname, Galka, a Russian word for jackdaw), another artist who abandoned her own work to champion his in the United States. After a hiatus in experimentation with the human form, Jawlensky produced perhaps his best-known series, the Mystical Heads (1917–19), and the Saviour’s Faces (1918–20), which are reminiscent of the traditional Russian Orthodox icons of his childhood.

In 1922, after marrying Werefkin’s former maid Hélène Nesnakomoff, the mother of his only son, Andreas, born before their marriage, Jawlensky took up residence in Wiesbaden.

Gallery

Head of a woman

20230313_191650

Girl With Green Face 1910



Jawlensky’s Young Girl in a Flowered Hat, Smarthistory

Schokko with Red Hat, 1909
Portrait of Alexander Sakharoff, 1909
Schokko with Wide Brimmed Hat, 1910
Violet Turban, 1911
Self-Portrait, 1912
Head in Blue, 1912
Variation, 1916
Savior’s Face: Martyr, 1919
Astonishment, 1919, Norton Simon Museum, Pasadena, California

William Glackens
William Glackens, circa 1915

Today is the birthday of William James Glackens (Philadelphia; March 13, 1870 – May 22, 1938 Westport, Connecticut); realist painter and one of the founders of the Ashcan School of American art. He is also known for his work in helping Albert C. Barnes to acquire the European paintings that form the nucleus of the famed Barnes Foundation in Philadelphia. His dark-hued, vibrantly painted street scenes and depictions of daily life in pre-WW I New York and Paris first established his reputation as a major artist. His later work was brighter in tone and showed the strong influence of Renoir. During much of his career as a painter, Glackens also worked as an illustrator for newspapers and magazines in Philadelphia and New York City.

In 1904, Glackens married Edith Dimock, the daughter of a wealthy Connecticut family. She was also an artist, and they lived together in a Greenwich Village townhouse. If many of their artist friends lived a bohemian life by the standards of the day, such was not the case with William and Edith Glackens. In 1957, Ira Glackens published an anecdotal book about his father and the role he played in the emerging realist movement in art.