Dear Zazie,
Here is today’s Lovers’ Chronicle from Mac Tag.
Rhett
The Lovers’ Chronicle
Dear Muse,
today’s theme had to be
about desire as tribute
to Madame Bovary
“Knowing you,
I would’ve been
disappointed otherwise”
could have been about
the recurrin’ theme,
c’est la faute de la fatalité
“Interesting, and how
that applies to us”
somethin’ brought us here
lets give thanks for the “fault”
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© copyright 2021 mac tag/cowboy coleridge all rights reserved
© copyright 2020 mac tag/cowboy coleridge all rights reserved
by the best part
the ante
the words rollin’
lengthenin’ feelin’s
comin’ on, a song,
each note carryin’
us closer
by the best part,
afterwards,
so intense
it is difficult
to understand
the nothin’ness
that came before
and we cannot help
but resign ourselves
to believe it
© copyright 2019 mac tag/cowboy coleridge all rights reserved
by unbound
imagination
and curiosity
by smiles,
eyes full of light,
and graceful hands
by desire for livin’
beyond ordinary
© copyright 2018 mac tag/cowboy coleridge all rights reserved
she turned me on
to absinthe, opera,
and French poetry
i turned her on
to wide open spaces,
campfires, and first light
we turned each other on
to unbound desire
and crushin’ heartache
© copyright 2016 Mac tag all rights reserved
 Illustration by Charles Léandre Madame Bovary, engraved by Eugène Decisy (fr). (Illustration without text on page 322: Emma as a transvestite at the ball) It was on this day in 1857 that Gustave Flaubert’s first novel Madame Bovary was published. The book was almost an instant sensation, in part because of Flaubert’s new painstaking style of Realism, but also due to the sensational trial the book had already starred in. When the novel was first serialized in La Revue de Paris between 1 October 1856 and 15 December 1856, public prosecutors attacked the novel for obscenity. The resulting trial in January 1857 made the story notorious. After Flaubert’s acquittal on 7 February 1857, Madame Bovary became a bestseller when it was published as a single volume. The novel is now considered Flaubert’s masterpiece, as well as a seminal work of literary realism. The story focuses on a doctor’s wife, Emma Bovary, who has adulterous affairs and lives beyond her means in order to escape the banalities and emptiness of provincial life. Selected Quotes: C’est la faute de la fatalité !
[…], la parole est un laminoir qui allonge toujours les sentiments.
Le plus médiocre libertin a rêvé des sultanes, chaque notaire porte en soi les débris d’un poète.
Cette lâche docilité qui est pour bien des femmes comme le châtiment tout à la fois la rançon de l’adultère
Il y a toujours après la mort de quelqu’un comme une stupéfaction qui se dégage, tant il est difficile de comprendre cette survenue du néant et de se résigner à y croire.
Il ne faut pas toucher aux idoles, la dorure en reste aux mains.
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Today is the birthday of Imogen Cunningham (Portland April 12, 1883 – June 23, 1976 San Francisco); photographer known for her botanical photography, nudes, and industrial landscapes. Cunningham was a member of the California-based Group f/64, known for its dedication to the sharp-focus rendition of simple subjects.
On February 11, 1915, Cunningham married etching artist, printmaker and teacher Roi Partridge. The couple divorced in 1934.
Cunningham continued to take photographs until shortly before her death. She was named Imogen after the heroine of Shakespeare’s Cymbeline.
Gallery
Martha graham
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Dream 1910 -
Eve Repentant 1910 -
Cunnigham in cap and gown -
Boy with Incense, 1912 -
Cunningham by Clare Shepard -
In Moonlight, 1911 -
Morning Mist and Sunshine
And today is the birthday of Robert Delaunay (Paris 12 April 1885 – 25 October 1941 Montpellier); artist who, with his wife Sonia Delaunay and others, co-founded the Orphism art movement, noted for its use of strong colours and geometric shapes. His later works were more abstract, reminiscent of Paul Klee. His key influence related to bold use of colour and a clear love of experimentation with both depth and tone.
In 1908, after a term in the military working as a regimental librarian, he met Sonia Terk; at the time she was married to a German art dealer whom she would soon divorce. In 1909, Delaunay began to paint a series of studies of the city of Paris and the Eiffel Tower, the Eiffel Tower series. The following year, he married Terk, and the couple settled in a studio apartment.
When World War II erupted, the Delaunays moved to the Auvergne, in an effort to avoid the invading German forces. Suffering from cancer, Delaunay was unable to endure being moved around, and his health deteriorated. He died from cancer on 25 October 1941 in Montpellier at the age of 56. His body was reburied in 1952 in Gambais.
Gallery
“Portrait of Madame Heim”
Femme portugaise (1915), Columbus Museum of Art
Nu à la toilette (Nu à la coiffeuse)
Simultaneous Windows on the City, 1912,
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c.1907, Nature morte au vase de fleurs, oil on canvas, 46.4 x 55 cm
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1906, Jean Metzinger, oil on paper, 43.2 x 54.9 cm, Museum of Fine Arts, Houston
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1905–06, Autoportrait, oil on canvas, Musée National d’Art Moderne, Paris
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1906, Carousel of Pigs, oil on canvas, Solomon R. Guggenheim Museum
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1906, L’homme à la tulipe (Portrait de M. Jean Metzinger), oil on canvas, 72.4 x 48.5 cm (28 1/2 by 19 1/8 in).
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1907, Portrait of Wilhelm Uhde. Delaunay and Sonia Terk met through the German collector/dealer Wilhelm Uhde, with whom Sonia had been married as she said for “convenience”
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1909-10, Saint-Séverin No. 3, oil on canvas, 114.1 × 88.6 cm, Solomon R. Guggenheim Museum
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1911-12, Window on the City No. 3, oil on canvas, 113.7 × 130.8 cm (44.8 × 51.5 in), Solomon R. Guggenheim Museum
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1912, Windows Open Simultaneously 1st Part, 3rd Motif, oil on canvas, 57 × 123 cm (22.4 × 48.4 in), Solomon R. Guggenheim Museum
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1913, L’Équipe de Cardiff, Van Abbemuseum, Eindhoven
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1913, L’Équipe de Cardiff, oil on canvas, 326 × 208 cm, Musée d’Art Moderne de la Ville de Paris
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1915, Nu à la toilette (Nu à la coiffeuse), oil on canvas, 140 × 142 cm, Musée d’Art Moderne de la Ville de Paris
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1916, Portuguese Woman, oil on canvas, 135.9 × 161 cm, Columbus Museum of Art
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1926-28, Eiffel Tower, Conté crayon on paper, 62.3 × 47.5 cm (24.5 × 18.7 in), Solomon R. Guggenheim Museum, New York, The Hilla Rebay Collection
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1926, Tour Eiffel, oil on canvas, 169 × 86 cm, Musée d’Art Moderne de la Ville de Paris
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1930, Circular Forms, oil on canvas, 67.3 × 109.8 cm (26.5 × 43.2 in), Solomon R. Guggenheim Museum, New York, Gift by Andrew Powie Fuller and Geraldine Spreckels Fuller Collection, 1999
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1938, Rythme n°1, Decoration for the Salon des Tuileries, oil on canvas, Musée d’Art Moderne de la Ville de Paris
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