The Lovers’ Chronicle 5 September – immensity – art by Caspar David Friedrich



Dear Zazie,  Here is today’s Lovers’ Chronicle from Mac Tag dedicated to his muse.  Follow us on twitter @cowboycoleridge.  Have you lost the fragrance of love’s ways?  Have you felt the sting of anguish?  Rhett

The Lovers’ Chronicle

Dear Muse,

on this night, clear
in the moonlight,
lookin’ forward
is in order
we arrive together,
place does not matter
we turn to each other,
stripped of pretense,
of all that came before
a slow turnin’
under the stars,
we have been drawn
to this for a purpose
look and you will see

© copyright 2020 mac tag/cowboy coleridge all rights reserved

survived long discordant days,
despair, and Time’s laggin’ pace
to say farewell to those ways

let the days pass
and drowse those thoughts
a dream long sought
now at hand
no longer gone
grasp the chance
and welcome calm

© copyright 2018 mac tag/cowboy coleridge all rights reserved

on this night, clear
in the moonlight,
a long walk in order,
we arrive at the bridge
deserted at this time

we start across arm in arm
midway we stop to look
over the rail at the river below,
uniformly gray under the nocturnal sky

the water appears to vanish
into an empty space beyond
we turn to each other,
strip our clothes, and disappear
in the depths beneath

a fall with the dizzy
rapidity of a dream
we surface
from the cool water
and cling to each other
in the wan moonlight

we take a deep breath
and descend to the bottom
lost now in the darkness,
in the immensity of life,
in each other

© copyright 2017 mac tag/cowboy Coleridge all rights reserved

Come to me,
come before
it is too late
you alone can draw
the sting of anguish

© copyright 2012 mac tag/cowboy Coleridge all rights reserved

Portrait of Caspar David Friedrich, Gerhard von Kügelgen c. 1810–20

 Today is the birthday of Caspar David Friedrich (Greifswald, Swedish Pomerania, on the Baltic coast of Germany; 5 September 1774 – 7 May 1840); Romantic landscape painter, perhaps the most important German artist of his generation.  He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins.

On 21 January 1818, Friedrich married Caroline Bommer, the twenty-five-year-old daughter of a dyer from Dresden.  Physiologist and painter Carl Gustav Carus notes in his biographical essays that marriage did not impact significantly on either Friedrich’s life or personality, yet his canvasses from this period, including Chalk Cliffs on Rügen—painted after his honeymoon—display a new sense of levity, while his palette is brighter and less austere.

Gallery

Woman before the rising or setting sun

Woman before the rising or setting sun

20220905_204612

The chalk drawing Self-portrait, 1800, which portrays the artist at 26, was completed while he was studying at the Royal Academy in Copenhagen. Royal Museum of Fine Arts, Copenhagen

 The Tetschen Altar, or The Cross in the Mountains (1807). 115 × 110.5 cm. Galerie Neue Meister, Dresden.

Rocky Landscape in the Elbe Sandstone Mountains by Caspar David Friedrich, between 1822 and 1823 

Chalk Cliffs on Rügen (1818). 90.5 × 71 cm. Museum Oskar Reinhart am Stadtgarten, Winterthur, Switzerland.

Georg Friedrich Kersting, Caspar David Friedrich in his Studio (1819) Alte Nationalgalerie, Berlin. Kersting portrays an aged Friedrich holding a maulstick at his canvas. 

Cemetery Entrance Galerie Neue Meister, Dresden 

The Abbey in the Oakwood (1808–10). 110.4 × 171 cm. Alte Nationalgalerie, Berlin.

The Sea of Ice (1823–24), Kunsthalle Hamburg.

Man and Woman Contemplating the Moon (1830–35). 34 × 44 cm. Alte Nationalgalerie, Berlin. 

Caspar David Friedrich, oil on canvas, by Carl Johann Baehr, 1836, New Masters Gallery, Dresden 
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The Lovers’ Chronicle 4 September – faith – art by Oskar Schlemmer – death of Charles Péguy

Dear Zazie,  Here is today’s Lovers’ Chronicle from Mac Tag dedicated to his muse.  Follow us on twitter @cowboycoleridge.  Do you have a love that will not die?  Rhett

The Lovers’ Chronicle

Dear Muse,

it does not disappear,
though buried deep
are you me
am i you
our easy ways
no forced feelin’s
enjoyed together
what comes this way
and the words,
here all along
just had to find
their meanin’
think of us,
let it be so
life can mean
what it was meant to
somewhere near

© copyright 2020 mac tag/cowboy coleridge all rights reserved

does it disappear,
though buried so deep
whether in the next room,
or separated by time

i am you and you are me
whatever we were
that we are still

our easy ways would return
no difference, no forced
solemnity nor sorrow

as we always were
everything enjoyed together

think of us, let us be
ever the words
they always were
let it be so without effort
without the ghosts of shadows

life means all that it ever meant
it can be the same as it ever was

unbroken continuity
waitin’ for you
somewhere very near
nothin’ is past
nothin’ is lost
one brief moment
and all will be
as it was before

and how soon we shall
forget the partin’
when we meet again

© copyright 2018 mac tag/cowboy coleridge all rights reserved

it really was worth
the trouble to stop and look
stop indeed, to see her pass
but it will not do
to stop too long
and be ensnared
in a delusion

better to settle
for the grip of wine
and long orisons

but of course,
comes the ache
and layin’ on the floor
eyes dim, everything
appears to turn around
a painful vibration
in the silence

she, kneelin’ by my side
strives to relieve me
by pressin’ herself
against me
and comfort comes

she whispers a plea
into my mouth
and presses her lips
against mine

i swallow that prayer
without a smile
not wishin’
to hurt her feelin’s
or shake her faith

© copyright 2017 mac tag/cowboy Coleridge all rights reserved

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Oskar Schlemmer
1932 Schlemmer Treppenszene anagoria.JPG

Treppenszene (Stairway Scene), 1932, Kunsthalle Hamburg, Hamburg

Today is the birthday of Oskar Schlemmer (Stuttgart, 4 September 1888 – 13 April 1943 Baden-Baden); painter, sculptor, designer and choreographer associated with the Bauhaus school.

In 1923, he was hired as Master of Form at the Bauhaus theatre workshop, after working at the workshop of sculpture. Perhaps his most famous work is Triadisches Ballett (Triadic Ballet), which saw costumed actors transformed into geometrical representations of the human body in what he described as a “party of form and colour”.

Gallery

The Women's School

The Women’s School

Bauhaustreppe (Bauhaus Stairway), 1932, Museum of Modern Art, New York

 

Charles_peguyIt was on this day in 1914 that French poet Charles Péguy died in Villeroy, France.  In 1897, at age 24, Péguy married Charlotte-Françoise Baudoin.  They had one daughter and three sons, one of whom was born after Péguy’s death.  Around 1910 he fell deeply in love with Blanche Raphael, a young Jewish friend, however he was faithful to his wife.  My friend Jett is in that situation.  He is married with kids but he loves another.  The only reason he stays with his wife is because of the kids.

Here is the Poem of the Day by Péguy.

L’amour ne disparaît jamais…

L’amour ne disparaît jamais… la mort n’est rien.
Je suis seulement passé dans la pièce d’à côté.
Je suis moi et vous êtes vous.
Ce que nous étions les uns pour les autres, nous le sommes toujours.
Donnez-moi le nom que vous m’avez toujours donné.
Parlez-moi comme vous l’avez toujours fait.
Ne changez rien au ton,
Ne prennez pas un air solennel ou triste.
Continuez à rire de ce qui nous faisait rire ensemble.
Priez, souriez, pensez à moi, priez pour moi.
Que mon nom soit prononcé à la maison comme il l’a toujours été.
La vie signifie tout ce qu’elle a toujours signifié.
Elle est ce qu’elle a toujours été.
Le fil n’est pas coupé.
Pourquoi serais-je hors de votre pensée, simplement parce que je suis hors de votre vue ?
Je vous attends, je ne suis pas loin, juste de l’autre côté du chemin.
Vous voyez, tout est bien.

Love Never Disappears…Death is Nothing

Love never disappears, death is nothin’                                                                                        I have only slipped away into the next room
I am I and you are you
Whatever we were to each other
That we are still
Call me by my old familiar name
Speak to me in the easy way you always used
Put no difference into your tone
Wear no forced air of solemnity or sorrow
Laugh as we always laughed
At the little jokes we always enjoyed together
Play, smile, think of me, pray for me
Let my name be ever the word that it always was
Let it be spoken without effort
Without the ghost of a shadow in it
Life means all that it ever meant
It is the same as it ever was
There is absolute unbroken continuity
What is death but a negligible accident
Why should I be out of mind
Because I am out of sight
I am waitin’ for you for an interval
Somewhere very near
Just around the corner
All is well
Nothin’ is past; nothin’ is lost
One brief moment and all will be as it was before
How we shall laugh at the trouble of partin’ when we meet again

The Song of the Day is “Love Never Dies” from Andrew Lloyd Webber‘s musical Love Never Dies, the sequel to The Phantom of the Opera, performed here by Sierra Boggess.

My love for you will never disappear, nor die, nor fade away.  My love for you lives on.

Mac Tag

There will be things that I do that no one will be left to understand. – Charles Péguy

The artist must bow to the monster of his own imagination.Richard Wright

A slow autumn rain:
The sad eyes of the lover
Fill a lonely night.

Richard Wright

Whatever is done for love always occurs beyond good and evil.Friedrich Nietzsche

 

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The Lovers’ Chronicle 3 September – what we feel – music by Bret Mosley – art by Paul Kane

Dear Zazie,  Here is today’s Lovers’ Chronicle from Mac Tag dedicated to his muse.  Follow us on twitter @cowboycoleridge.  Do y’all feel the love?   Rhett

The Lovers’ Chronicle

Dear Muse,

i ask myself
whether the endin’,
i had forsaken,
might not, after all,
break upon me
lookin’ into your eyes
as i take you in my arms
can there be anything better
than to be here holdin’ you
and believin’
together,
we can do this,
trustin’ our capes
what we feel is real

© copyright 2021 mac tag/cowboy coleridge all rights reserved

storm rollin' in. copyright 2018 mac tag all rights reserved

storm rollin’ in. copyright 2018 mac tag all rights reserved

watchin’ a storm roll in
clouds spreadin’ out
across the big
High Plains sky

and the light just right
on nature’s grand canvas

that evenin’
the way you looked
as close to splendor
as i have ever seen

© copyright 2018 mac tag/cowboy coleridge all rights reserved

i ask myself
whether the endin’,
which i have foreseen,
might not, after all,
soon break upon me…

suddenly, there you are,
clearly against
the background
of deep shadows
holdin’ your robe
together with one hand

now what
“Take a deep breath
and let it out slowly.”

it has been a long time
“I know, me too.”
how long
“I don’t know.”
me neither
i can hardly remember

© copyright 2017 mac tag/cowboy Coleridge all rights reserved

i know this…
what we felt was real
what we had
what we were
what we knew…
yeah, we could feel it
sadly, i know this now…
without you,
i feel nothin’

© copyright 2016 mac tag/cowboy Coleridge all rights reserved

Today the song of the day is from an old friend of ours, Bret Mosley (bretmosley.com).  He is a bluesy, soulful, bare foot-stompin’ singer/songwriter.  His original tunes are built to last and his covers, or more accurately his uncovers, are unique.  Here is his original tune; “What You Feel“. #feeltheloveyall

Paul Kane
Kane Selfportrait.jpg

Self-portrait, circa 1845

Today is the birthday of Paul Kane (Mallow, county Cork September 3, 1810 – February 20, 1871 Toronto); painter, famous for his paintings of First Nations peoples in the Canadian West and other Native Americans in the Oregon Country.  Kane secured the support of the Hudson’s Bay Company, and set out on a voyage from Toronto across the Rocky Mountains to Fort Vancouver and Fort Victoria in the Columbia District, as the Canadians called the Oregon Country.  Kane sketched and painted Aboriginal peoples and documented their lives.  Upon his return to Toronto, he produced more than one hundred oil paintings from these sketches.  Kane’s work, particularly his field sketches, are still a valuable resource for ethnologists.  The oil paintings he completed in his studio are considered a part of the Canadian heritage.

In 1853, Kane married Harriet Clench (1823–1892), the daughter of his former employer at Cobourg.  Reportedly, she was a skilled painter and writer.

Gallery 

An early portrait (ca. 1834–36) attributed to Kane, showing Mrs. Eliza Clarke Cory Clench 

Ojibwa camp at the shores of Georgian Bay; a typical field sketch of Kane’s from his first trip 1845 

Painting by Kane of a Plains Cree warrior and pipe stem carrier. Seen along the North Saskatchewan River, Saskatchewan Canada.

Jasper’s House as painted in a field sketch by Kane in 1846. 

The interior of a ceremonial lodge in the Columbia River region painted by Kane in 1846

Mount St. Helens erupting at night by Kane after his 1847 visit to the area

Kane crossed the Rocky Mountains twice in winter. (Field sketch by Kane, 1846.) 

The fifth Fort Edmonton was constructed on the high ground above the North Saskatchewan River after the fourth fort, which had been located on the river banks, had been flooded several times. 

Kane, c. 1850
 
Field sketch of a Flathead baby Field sketch of a Cowlitz woman (Caw Wacham)
Two field sketches

Flathead woman and child (Caw Wacham), 1848–53, and the two field sketches Kane combined in this painting, illustrating the artistic liberties he allowed himself when elaborating the sketches into oil canvases.

 

Indian encampment on Lake Huron, 1848–50. Oil painting after the field sketch from 1845 shown above. 

Assiniboine hunting buffalo, 1851–56, an oil painting exemplifying the strong influence of European classic art conventions on Kane’s studio work. 

The Surveyor: Portrait of Captain John Henry Lefroy, ca. 1845, sold at a record price of more than 5 million Canadian dollars in 2002. The painting is sometimes also called Scene in the Northwest.

Mac Tag

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The Lovers’ Chronicle 2 September – seek – art by Romare Bearden

Dear Zazie,  Here is today’s Lovers’ Chronicle from Mac Tag dedicated to his muse.  Follow us on twitter @cowboycoleridge.  Do you wish you were pleasin’ someone?  Rhett

The Lovers’ Chronicle

Dear Muse,

among all, you my attraction
because i have so wanted
i from you wait with answers,
because with you i can see
the one, whose name i utter
because you have my all to give
yours are the questions heeded
because with you i need
this feelin’ near you
together
andante

© copyright 2020 mac tag/cowboy coleridge all rights reserved

“Do you know
what you are looking for?”
timin’ is all, in contemplatin’ that

once ago, so damn certain
yet so utterly wrong
and such a price paid for that
you cannot imagine

figured this out
ain’t much livin’
in pretendin’

and more and more
certain of this,
the search lies within’

© copyright 2018 mac tag/cowboy coleridge all rights reserved

 

mactaghighplainssusnetwindmillnothin’ ain’t worth nothin’
without good lines and good light

sad stories all
in the Rockies, as well
the photographer, he knew
he could see it in my eyes
he never got a good shot

neither did we

electric passions
epic arguments
two people
with more baggage
than the Denver airport
so instead of tryin’
we just quit
would you go back
to fix somethin’ worth fixin’
Faulkner said the past is not dead
so would you, were it worth the cost
so good to be with you
but this is a dream
“Yes, and you must wake up.”
but i want to stay with you
“You will find what you seek.”
© copyright 2017 mac tag/cowboy Coleridge all rights reserved

All I want…
write a little verse
sing a little song
just for you

Takin’ her hand, leadin’ her
Layin’ down with her
Undressin’ and caressin’
Lookin’ at her, she blushes
She has never been prettier
And the look in those blue eyes
As I take her in my arms
Can there ever be
Anything better
Than to be here holdin’ her

Kissin’ her all over,
And over again
Just not possible
To give her too much pleasure
And the look in those blue eyes
As I pull her face towards
Mine to kiss her
Can there ever be
Anything better
Than to be here kissin’ her
Takin’ her hand, leadin’ her
Layin’ down with her
Undressin’ and caressin’

Strummin’ her pleasure,
Gently, but not too,
With my body, persistent
Pulsin’, tremblin’, buildin’
Wait, yes make her wait
And the look in those blue eyes
When she knows she has to wait
Can there ever be
Anything more fun
Than to be here teasin’ her

Takin’ her now, where
She has never been
This right here is my reason
For bein’; holdin’, kissin’,
Teasin’, pleasin’ this woman
And the look in those blue eyes
When she releases at last
Can there ever be
Anything better
Than to be here
Pleasin’ her

© Copyright 2014 Mac Tag/Cowboy Coleridge All rights reserved

Romare Bearden
Romare Bearden.jpg

Romare Bearden, in his army uniform, a photograph taken by Carl Van Vechten, 1944

Today is the birthday of Romare Bearden (Charlotte, North Carolina; September 2, 1911 – March 12, 1988 New York City); artist and writer who depicted African-American life.  He worked with many types of media including cartoons, oils and collages.  Bearden was the author or coauthor of several books, and was a songwriter who co-wrote the jazz classic “Sea Breeze”, which was recorded by Billy Eckstine, a former high school classmate at Peabody High School, and Dizzy Gillespie.  His lifelong support of young, emerging artists led him and his wife to create the Bearden Foundation to support young or emerging artists and scholars.  In 1954, at age 42, he married Nanette Bearden, a 27-year-old dancer who herself became an artist and critic.

Gallery

The calabash

The calabash

Empress of the blues

Empress of the blues

romarebeardencollage

Collage nude woman

Collage nude woman

 romarebearden

 Mac Tag

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The Lovers’ Chronicle 1 September – a turnin’ point – love letter from Richard Steele to Mary Scurlock – verse by Innokenty Annensky – art by Hilda Rix Nicholas

Dear Zazie,  Here is today’s Lovers’ Chronicle from Mac Tag dedicated to his muse.  Follow us on twitter @cowboycoleridge.  Have you ever been to the turnin’ point?  Rhett

The Lovers’ Chronicle

Dear Muse,

a dream…
naked, next to me
you are beautiful
pale skin, dark eyes
you raise the covers
and lay on top of me
pressin’ your face
against my chest
so warm
it fills me complete
i feel your breath
your touch, your words
flowin’, soothin’ across my skin
“Say my name.”
i do, again and again

© copyright 2020 mac tag/cowboy coleridge all rights reserved

well, yes and no
it was an awakenin’
of given-up-for-gone feelin’s

and it did change
the course of the verse
and for that i am thankful

it did not lead
where some hoped
i was torn
whether i wanted
it to or not

she is happy now
with another

and i as well
with you
in solitude

© copyright 2018 mac tag/cowboy coleridge all rights reserved

Suddenly awake and aware
of Her presence
Cold, dread desire
She has come to use me
to amuse herself, to
feed on my passion
to satiate herself
And i will allow her
i will succumb because
she will give me the words
the dark words i must have
for i must have words to write
and i can no longer
hear words of light and love
She comes, presses her cold
lips upon mine
but then She turns and leaves
i call out, plead with Her
to return, that She may
have whatever She wants
But She does not return
And I am left
cold and alone
bereft, without
words, with nothin’
Then, in the distance
It is, but soft, a light
growin’ nearer
Wait, not a light, a woman
naked, next to my bed
and she is beautiful
with blonde hair and blue eyes
She raises the covers
and lays herself on top of me
pressin’ her face against my chest
She is so warm
a warmth such as i have never known
and it fills me complete,
and stills my shiverin’
She whispers, but i cannot hear
i feel her breath
and her whispered words
flowin’, soothin’ across my skin
The same refrain,
she whispers, over and again
until,
the meanin’ begins to sink in
and i can feel
what she has been sayin’
Then, finally,
i can hear her
as she whispers over again,
The words will come
the words will come
© Copyright 2014 Mac Tag/Cowboy Coleridge All rights reserved
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Richard_Steele_by_Jonathan_RichardsonOn this day in 1707 Irish writer Richard Steele sat in St. James Coffee House in London and wrote a love letter to Mary Scurlock, whom he wanted to marry.

“Madam — It is the hardest thing in the world to be in love, and yet attend to business. As for me, all who speak to me do find out, and I must lock myself up, or other people will do it for me.

“A gentleman asked me this morning, ‘What news from Lisbon?’ and I answered, ‘She is exquisitely handsome.’ Another desired to know ‘when I had been last at Hampton Court?’ I replied, ‘It will be on Tuesday come se’nnight.’ Pr’ythee allow me at least to kiss your hand before that day, that my mind may be in some composure. O love!

“A thousand torments dwell about thee,

Yet who would live, to live without thee?”

They got married later in 1707.  They stayed married, though perhaps stormily, until her death in 1718. During their relationship Steele wrote her more than 400 letters.

Innokenty Annensky
Innokentij Annenskij.jpg

Today is the birthday of Innokentiy Annensky (Innokentiy Fyodorovich Annensky; Omsk, Russian Empire; September 1, 1855 (N.S.) – December 13, 1909 (N.S.) St. Petersburg, Russian Empire); poet, critic and translator, representative of the first wave of Russian Symbolism. Sometimes cited as a Slavic counterpart to the poètes maudits, Annensky managed to render into Russian the essential intonations of Baudelaire and Verlaine, while the subtle music, ominous allusions, arcane vocabulary, the spell of minutely changing colours and odours were all his own. He influenced the first post-Symbolist generation of poets (Akhmatova, Gumilyov, Mandelshtam).

Annensky first gained renown with his translations of Euripides and the French Symbolists. From 1890 until his death in 1909, he translated from Ancient Greek all the works of Euripides. At the beginning of the 1900s, Annensky wrote a series of tragedies modelled after those of ancient Greece: Melanippa-filosof (1901), Tsar Iksion (1903), Laodamia (1906). Some of these works were dedicated to his colleague, Faddei Zielinski, who would later write his obituary.

Among the Worlds (1901)

Among the worlds, in glimmering of stars,
The single Star is ever my attraction…
Not because i had so wanted you so far,
But because I live with others with aversion

And if my doubts are an awful plight,
I just from you wait for the final answers,
Not because you send to me the saving light,
But because with you I can live and in darkness

Rule Segment - Fancy1 - 40px.svg

Among cold worlds, immersed in starry glow,
There is the One, whose name I always utter
Not because you have my all to give
But because I languish with others

And if heavy with doubt
Yours is the only answer heeded
Not because your light is abundant
But because no light with you is needed

a feeling; a shadow
in the light near you – you listen,
at night, silently hugs…
together night and day…

translations by mac tag

 

Hilda Rix Nicholas
Hilda Rix Nicholas spirit of the bush.jpg

Rix Nicholas, c. 1920, dressed as “the spirit of the bush”

And today is the birthday of Hilda Rix Nicholas (née Rix, later Wright, Ballarat, Victoria, Australia 1 September 1884 – 3 August 1961 Delegate, New South Wales, Australia); artist. She was born in the Victorian city of Ballarat. Her father was an education administrator and poet, her mother was a musician and artist. She studied under a leading member of the Heidelberg School, Frederick McCubbin, at the National Gallery of Victoria Art School from 1902 to 1905 and was an early member of the Melbourne Society of Women Painters and Sculptors. Following the death of her father in 1907, Hilda Rix, her only sibling Elsie and her mother travelled to Europe where she undertook further study in London and then in Paris.

After travelling to Tangiers in 1912, Rix held several successful exhibitions of her work, with one drawing, Grande marche, Tanger, purchased by the French government. She was one of the first Australians to paint post-impressionist landscapes, was made a member of the Société des Peintres Orientalistes Français, and had works hung in the Paris Salon first in 1911 and again in 1913. The family evacuated from France to England after the outbreak of World War I. A period of personal tragedy followed, as Rix’s sister died in 1914, then her mother in 1915. In 1916 she met and married George Matson Nicholas, only to be widowed the next month when he was killed on the Western Front.

Returning to Australia in 1918, Rix Nicholas once more took up professional painting, and held an exhibition of over a hundred works at Melbourne’s Guild Hall. Many sold, including In Picardy, purchased by the National Gallery of Victoria. Following a period painting in rural locations in the early 1920s, Rix Nicholas returned to Europe. A 1925 exhibition in Paris led to the sale of her work In Australia to the Musée du Luxembourg, followed by an extensive tour of her paintings around regional British art galleries. There followed representation in other exhibitions, including at the International Society of Sculptors, Painters and Gravers, and the Royal Academy of Arts, both in London. Following the inclusion of several works in the 1926 Société Nationale des Beaux-Arts Spring exhibition in Paris she was made an Associate of that organisation.

In 1926, Rix Nicholas returned to Australia, and in 1928 she married Edgar Wright, whom she had met during her travels in the early 1920s. The couple settled at Delegate, New South Wales; their only child, a son named Rix Wright, was born in 1930. Though she continued to paint significant works including The Summer House and The Fair Musterer, Rix Nicholas, a staunch critic of modernism who was disdainful of the works of emerging major artists such as Russell Drysdale and William Dobell, grew out of step with trends in Australian art. Her pictures remained didactic, portraying an Australian pastoral ideal, and reviews of her exhibitions grew more uneven. She held her last solo show in 1947. Rix Nicholas remained at Delegate until her death in 1961. Her works are held in most major Australian collections, including the Art Gallery of South Australia, Australian War Memorial, National Gallery of Australia, National Gallery of Victoria, and the Queensland Art Gallery.

Gallery

Une Australienne, 1926

Une Australienne, 1926

The Bathers

The Bathers

Autumn evenings golden glow, c.1942

Autumn evenings golden glow, c.1942

Detail of Men in the Market Place, Tangier (1914), showing a typical subject of Rix Nicholas’s Moroccan work, and her post-impressionist style adopted during this period.

 

In Australia, painted by Rix Nicholas while staying at Delegate, New South Wales in 1922 or 1923.

 

Les fleurs dédaignées(1925)

The Summer House, painted circa 1933, is one of Rix Nicholas’s best known works, but the artist herself was ambivalent about it and never showed it publicly.

Mac Tag

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The Lovers’ Chronicle 31 August – ever the same – Death of Charles Baudelaire – photography by Helen Levitt – birth of Alan Jay Lerner

Dear Zazie,  Here is today’s Lovers’ Chronicle from Mac Tag dedicated to his muse.  Follow us on twitter @cowboycoleridge.  Are with the someone you want to remain ever the same?  Rhett

The Lovers’ Chronicle

Dear Muse,

askin’ questions, liftin’, soothin’
your voice, sweet inspiration
smile with laughter, life,
to hold, comfort, kindly
let me go, into your eyes
the verse reveals everything
desires, dreams painted
on the canvas of us
determined
said another way,
never the same

© copyright 2020 mac tag/cowboy coleridge all rights reserved

this black mood rollin’ in
just to be alive is to grieve
pain simply, no mystery at all
askin’ questions, liftin’, soothin’
your voice, sweet, cannot suppress
smile with laughter, more than life,
the power to hold, comfort, kindly
let me go, into dreams, into your eyes

© copyright 2019 mac tag/cowboy coleridge all rights reserved

somethin’ of the eternal
and ephemeral,
or is it,
the absolute
and particular

the verse reveals
everything
desires, dreams
embroidered
on the canvas
of what we had

determined to seek
the means of expression

just another
way of sayin’,
ever the same

© copyright 2018 mac tag/cowboy coleridge all rights reserved

charlesbaudelaireÉtienne_Carjat,_Portrait_of_Charles_Baudelaire,_circa_1862It was on this day in 1867, French poet Charles Baudelaire died in Paris.  Baudelaire’s muse was Jeanne Duval (c.1820 – 1862) a Haitian-born actress and dancer of mixed French and black African ancestry.  They met in 1842, when Duval left Haiti for France.  They remained together, albeit stormily, for the next two decades.  Duval is said to have been the woman whom Baudelaire loved most in his life.  Poems of Baudelaire’s which are dedicated to Duval or pay her homage are: Le balcon, Parfum exotique, La chevelure, Sed non satiata, Le serpent qui danse, and Une charogne.  Baudelaire called her “mistress of mistresses” and his “Vénus Noire” (“Black Venus”), and it is believed that, to him, Duval symbolized the dangerous beauty, sexuality, and mystery of a Creole woman in mid-nineteenth century France.  Here is the Poem of the Day by Baudelaire (translation by Edna St. Vincent Millay):Jeanne_Duvalby manet

Semper Eadem (Ever The Same)

«D’où vous vient, disiez-vous, cette tristesse étrange,
Montant comme la mer sur le roc noir et nu?»
— Quand notre coeur a fait une fois sa vendange
Vivre est un mal. C’est un secret de tous connu,

Une douleur très simple et non mystérieuse
Et, comme votre joie, éclatante pour tous.
Cessez donc de chercher, ô belle curieuse!
Et, bien que votre voix soit douce, taisez-vous!

Taisez-vous, ignorante! âme toujours ravie!
Bouche au rire enfantin! Plus encor que la Vie,
La Mort nous tient souvent par des liens subtils.

Laissez, laissez mon coeur s’enivrer d’un mensonge,
Plonger dans vos beaux yeux comme dans un beau songe
Et sommeiller longtemps à l’ombre de vos cils!

Ever the Same

‘What in the world,’ you said, ‘has brought on this black mood,
Climbing you as the sea climbs up a naked reef?’
— When once the heart has made its harvest (understood
By all men, this) why, just to be alive is grief:

A pain quite simple, nothing mysterious at all,
And like that joy of yours, patent to all we meet;
Stop asking questions, then, I beg of you, and fall
Silent a while, fair prober, though your voice be sweet.

Ah, yes, be silent, ignorant girl, always so gay,
Mouth with the childlike laughter! More than Life, I say,
Death has the power to hold us by most subtle ties.

My one fictitious comfort, kindly, let me keep:
To plunge as into dreams into your lovely eyes,
And in the shadow of your lashes fall asleep.

The Song of the Day is Rob Thomas“Ever the Same”

I wish our together was still ever the same.

20220831_204355Today is the birthday of Helen Levitt (Brooklyn; August 31, 1913 – March 29, 2009); photographer and cinematographer. She was particularly noted for her street photography around New York City. David Levi Strauss described her as “the most celebrated and least known photographer of her time.”

Levitt was most well known and celebrated for her work taking pictures of children playing in the streets. She also focused her work in areas of Harlem and the Lower East side with minority populations.  There is a constant motif of children playing games in her work.  She stepped away from the normal practice set by other established photographers at the time of giving a journalistic depiction of suffering. She instead chose to show the world from the perspective of children from taking pictures of their chalk art. She usually positions the camera and styles the photo in a way that gives the focus of her photography power.  Her choice to display children playing in the street and explore street photography, fights against what was going on at the time. Legislation being passed in New York at the time was limiting many of the working classes access to these public spaces. Laws were passed that directly targeted these communities in an attempt to control them. New bans on noise targeted working class and minority communities.  There was a movement to also try to keep children from playing on the street, believing it is unsafe for them out there. Instead, it encouraged safe new areas that were usually built more in upper and middle class areas. Helen Levitt instead explored the narrative of those who lived in these areas and played in these streets as a way to empower the subjects of her photos.

She had to give up making her own prints in the 1990s due to sciatica, which also made standing and carrying her Leica difficult, causing her to switch to a small, automatic Contax. She was born with Ménière’s syndrome, an inner-ear disorder that caused her to “[feel] wobbly all [her] life.” She also had a near-fatal case of pneumonia in the 1950s.  Levitt lived a personal and quiet life. She seldom gave interviews and was generally very introverted. She never married, living alone with her yellow tabby Blinky.  Levitt died in her sleep, at the age of 95.

Gallery

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20220831_204109

20220831_204446

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And today is the birthday of Alan Jay Lerner (August 31, 1918 – June 14, 1986); lyricist and librettist. In collaboration with Frederick Loewe, and later Burton Lane, he created some of the world’s most popular and enduring works of musical theatre both for the stage and on film. He won three Tony Awards and three Academy Awards, among other honors.  The Lerner and Loewe partnership spanned three decades and nine musicals from 1942 to 1960 and again from 1970 to 1972, the pair are known for being behind the creation of critical on stage successes such as My Fair Lady, Brigadoon, and Camelot along with the musical film Gigi.

Lerner married eight times: Ruth Boyd (1940–1947), singer Marion Bell (1947–1949), actress Nancy Olson (1950–1957), lawyer Micheline Muselli Pozzo di Borgo (1957–1965), editor Karen Gundersen (1966–1974), Sandra Payne (1974–1976), Nina Bushkin (1977–1981) and Liz Robertson (1981–1986 [his death]). Four of his eight wives — Olson, Payne, Bushkin, and Robertson — were actresses. His seventh wife, Nina Bushkin, whom he married on May 30, 1977, was the director of development at Mannes College of Music and the daughter of composer and musician Joey Bushkin.  After their divorce in 1981, Lerner was ordered to pay her a settlement of $50,000.  Lerner wrote in his autobiography (as quoted by The New York Times): “All I can say is that if I had no flair for marriage, I also had no flair for bachelorhood.”  One of his ex-wives reportedly said, “Marriage is Alan’s way of saying goodbye.”

Mac Tag

There is an invincible taste for prostitution in the heart of man, from which comes his horror of solitude. He wants to be ‘two’. The man of genius wants to be ‘one’… It is this horror of solitude, the need to lose oneself in the external flesh, that man nobly calls ‘the need to love’. – Baudelaire

Unable to suppress love, the Church wanted at least to disinfect it, and it created marriage. – Baudelaire

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The Lovers’ Chronicle 30 August – À bout de souffle – Come to Me – art by Jacques-Louis David, Isaac Levitan & Leonor Fini – verse by Mary Shelley

Dear Zazie,  Here is today’s Lovers’ Chronicle from Mac Tag dedicated to his muse.  Follow us on twitter @cowboycoleridge.  Who comes to you in your dreams?  Rhett

The Lovers’ Chronicle

Dear Muse,

to feel again
À bout de souffle
to awaken
visions renew
makes me want
wallow in the reverie
of your skin, your hands
the verse given, the songs,
the sketches, the time spent
holdin’ you and feelin’
myself flow into you
it has been so long
come to me
i will for you,
come

© copyright 2020 mac tag/cowboy coleridge all rights reserved

’twas thus told
only to awaken

verse veils the night
visions renew
my vows to thee

breathless once
makes me want

come to me
i will for you,
come

© copyright 2018 mac tag/cowboy coleridge all rights reserved

watchin’ À bout de souffle,
again, how many times now

really must start sooner
to give you somethin’ worthy
sleep pulls and i resist

searchin’ the memory
of your eyes, your hands
the verse given, the songs,
the sketches, the time spent
come to me, to be
breathless again

© copyright 2017 mac tag/cowboy Coleridge all rights reserved

Last night, I dreamed
a dark-haired beauty…

I had been workin’ out and she
came to me and hugged me
I told her I was sweaty,
but she did not care
I held her and felt
myself flow into her
I told her it had been
so long,
so long
She held me tighter
Who was she
Did wishful thinkin’
make her appear
Is she a premonition
Last night, I dreamed
a dark-haired beauty

© copyright 2012 mac tag/cowboy Coleridge all rights reserved

 

Jacques-Louis David
David Self Portrait.jpg

Self portrait of Jacques-Louis David, 1794, Musée du Louvre

Jacques-Louis David (Paris; 30 August 1748 – 29 December 1825 Brussels); painter in the Neoclassical style, perhaps the preeminent painter of the era.  In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward a classical austerity and severity, heightened feeling harmonizing with the moral climate of the final years of the Ancien Régime.

David later became an active supporter of the French Revolution and friend of Maximilien Robespierre (1758–1794), and was effectively a dictator of the arts under the French Republic.  Imprisoned after Robespierre’s fall from power, he aligned himself with yet another political regime upon his release: that of Napoleon, The First Consul of France.  At this time he developed his Empire style, notable for its use of warm Venetian colours.  After Napoleon’s fall from Imperial power and the Bourbon revival, David exiled himself to Brussels, then in the United Kingdom of the Netherlands, where he remained until his death.  David had a large number of pupils, making him the strongest influence in French art of the early 19th century, especially academic Salon painting.

David was granted lodging in the Louvre, an ancient and much desired privilege of great artists.  When the contractor of the King’s buildings, M. Pécoul, was arranging with David, he asked the artist to marry his daughter, Marguerite Charlotte.  This marriage brought him money and eventually four children.  David had his own pupils, about 40 to 50, and was commissioned by the government to paint “Horace defended by his Father”, but he soon decided, “Only in Rome can I paint Romans.”  His father-in-law provided the money he needed for the trip, and David headed for Rome with his wife and three of his students, one of whom, Jean-Germain Drouais (1763–1788), was the Prix de Rome winner of that year.

Gallery

Venitienne A Sa Toilette

Venitienne A Sa Toilette

Mademoiselle Guimard as Terpsichore, 1774–5, an early work 

Equestrian portrait of Stanisław Kostka Potocki (1781)

 

Oath of the Horatii (second version; 1786)

The Death of Socrates (1787)

The Lictors Bring to Brutus the Bodies of His Sons (1789)

Drawing of the Tennis Court Oath. David later became a deputy in the National Convention in 1792

Republican costume designed by David. Engraving by Denon

The Death of Marat (1793)

Marie Antoinette on the Way to the Guillotine, 16 October 1793. Sketched from a window in the rue Sainte-Honoré while the cart went past 

The Intervention of the Sabine Women (1799) 

The Emperor Napoleon in His Study at the Tuileries (1812) National Gallery of Art, Washington, D.C. 

Napoleon at the Saint-Bernard Pass (1801)

The Coronation of Napoleon, (1806) 

The Sisters Zénaïde and Charlotte Bonaparte

Mars Being Disarmed by Venus and the Three Graces, David’s last great work (1824) 

Self-Portrait (1791)

 

maryshelleyRothwellMaryShelleyIt is the birthday of Mary Wollstonecraft Shelley, born Mary Godwin in London, England (1797).  She is famous as the author of Frankenstein (1818), which is considered the first science fiction novel ever written, and for bein’ the wife of English Romantic poet, Percy Bysshe Shelley.  Mary Godwin may have first met the radical poet-philosopher Shelley in the interval between her two stays in Scotland.  By the time she returned home for a second time on 30 March 1814, Shelley had become estranged from his wife, Harriet, and was regularly visitin’ Mary Godwin’s father, whom he had agreed to bail out of debt.  Mary and Percy began meetin’ each other secretly at Mary Wollstonecraft’s grave in St Pancras Churchyard, and they fell in love.  She was sixteen, he nearly twenty-one.  To Mary’s dismay, her father disapproved and tried to thwart the relationship and salvage the “spotless fame” of his daughter.  On 28 July 1814, the couple secretly left for France, takin’ Mary’s stepsister, Claire Clairmont, with them, but leavin’ Shelley’s pregnant wife behind.  They married in late 1816 after the suicide of Shelley’s wife.  On 12 March 1818, they left England for Italy where Shelley would die in 1822.  Of course, the poem of the day is from Mary Shelley:

Come to Me in Dreams

Oh, come to me in dreams, my love!
…I will not ask a dearer bliss;
Come with the starry beams, my love,
…And press mine eyelids with thy kiss.

‘Twas thus, as ancient fables tell,
…Love visited a Grecian maid,
Till she disturbed the sacred spell,
…And woke to find her hopes betrayed.

But gentle sleep shall veil my sight,
…And Psyche’s lamp shall darkling be,
When, in the visions of the night,
…Thou dost renew thy vows to me.

Then come to me in dreams, my love,
…I will not ask a dearer bliss;
Come with the starry beams, my love,
…And press mine eyelids with thy kiss.

 

Isaac Levitan
Isaac Levitan selfportrait1880.jpg

Issac Levitan, Self portrait, 1880

Today is the birthday of Isaac Ilyich Levitan (Kibarty, Augustów Governorate, Congress Poland, Russian Empire; 30 August [O.S. 18 August] 1860 – 4 August [O.S. 22 July] 1900 Moscow); landscape painter who advanced the genre of the “mood landscape.”

Gallery 

" Brouillard sur l' eau " 1895

” Brouillard sur l’ eau ” 1895

Autumn day. Sokolniki. 1879

Levitan. Portrait by Valentin Serov (1893)

Lake. Russia 1900. The last, unfinished Levitan painting 

Mac Tag

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The Lovers’ Chronicle 29 August – thereon – art by Ingres – verse by Oliver Wendell Holmes – birth of Ingrid Bergman

Dear Zazie,  Here is today’s Lovers’ Chronicle from Mac Tag dedicated to his muse.  Follow us on twitter @cowboycoleridge.  Is there someone you cannot get over?  Does it make no difference?  Is it true that there is no love as true as the love that dies untold?  Rhett

The Lovers’ Chronicle

Dear Muse,

a flame rekindled

though buried so long

here bein’ told

 

the only sighs

that linger

thereon,

those of, yes

and wide wonder

 

put your ear

close to my lips

i will whisper

what you need to hear

 

an age old tale

now unfoldin’, of two

who could only be saved

by findin’ each other

© copyright 2022 mac tag/cowboy coleridge all rights reserved

this i have found
the flame burns
though buried
so long
it is there
now bein’ told
a sigh lingers thereon
in sated embrace
us, feelin’ alive
bein’ together
i want to tell you
what you need to hear
listen, feel
i call your name
pull you close
yes, again

© copyright 2020 mac tag/cowboy coleridge all rights reserved

a female me for sure
closed off, keepin’
everyone at arm’s length
you say you want
to feel alive
and yet you are afraid
to really let go
just close your eyes
and be
this is nothin’ more
than us
feelin’ alive
bein’ together
time we both stop denyin’

© copyright 2019 mac tag/cowboy coleridge all rights reserved

The soundtrack that should be playin’ in your head as you read this; Bird’s saxophone, and Dinah W.’s voice…

does the flame burn on
though buried so long
is it there
is it true
if it goes untold

a sigh lingers
thereon
in the wonderin’

put your ear
close to my lips
i will whisper
what you need to hear

you say comfort lies there
but i cannot save you
we can only save
each other

© copyright 2018 mac tag/cowboy coleridge all rights reserved

i see you as you looked
that August evenin’,
with the wind in your hair,
in the swiftly fadin’ last light

a crescent moon begins
its sojourn across the sky
the ripplin’ waters
of the creek’s current
the horses graze
on the prairie grass

the sparkle, far & wide
in the darkenin’ sky
the lightnin’ flash
on the horizon
all this unnoticed
while i gazed thereon
because you were near

© copyright 2017 mac tag/cowboy Coleridge all rights reserved

Love That Dies Untold

Love is the key
That opens the gate
Of happiness

Love lost is the key
That opens the gate
Of fear and longin’

The flame still burns
The shadow will not fade
There is no sigh
Like the lover’s sigh

So put your ear
Close to my lips
As I whisper
The lover’s secret

There is no love

As true as the love

That dies untold

© copyright 2012 mac Tag/Cowboy Coleridge all rights reserved

It indeed makes no difference.  The flame still burns and the shadow never fades and there is no love as true as the love that dies untold.  I cannot get over you.

 

Jean-Auguste-Dominique Ingres
Ingres, Self-portrait.jpg

Self-portrait at age 24, 1804 (revised c. 1850), oil on canvas, 78 x 61 cm, Musée Condé

Today is the birthday of Jean-Auguste-Dominique Ingres (Montauban, Languedoc; 29 August 1780 – 14 January 1867 Paris); Neoclassical painter.  Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres’s portraits, both painted and drawn, that were recognized as his greatest legacy.  He assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by Eugène Delacroix.  His expressive distortions of form and space make him an important precursor of modern art.

In the summer of 1806 Ingres became engaged to Marie-Anne-Julie Forestier, a painter and musician, before leaving for Rome in September.  His refusal to return to Paris led to the breaking up of his engagement.  Julie Forestier, when asked years later why she had never married, responded, “When one has had the honor of being engaged to M. Ingres, one does not marry.”

In 1813 Ingres married a young woman, Madeleine Chapelle, who had been recommended to him by her friends in Rome.  After a courtship carried out through correspondence, he proposed to her without having met her, and she accepted.  Their marriage was a happy one, and Madame Ingres acquired a faith in her husband which enabled her to combat with courage and patience the difficulties of their common existence.

Ingres’ wife died on 27 July 1849.  The following year Ingres, at seventy-one years of age, married forty-three-year-old Delphine Ramel, a relative of his friend Marcotte d’Argenteuil.  This marriage proved as happy as his first.

Ingres died of pneumonia on 14 January 1867, at the age of eighty-six, having preserved his faculties to the last.  He is interred in the Père Lachaise Cemetery in Paris with a tomb sculpted by his student Jean-Marie Bonnassieux. The contents of his studio, including a number of major paintings, over 4000 drawings, and his violin, were bequeathed by the artist to the city museum of Montauban, now known as the Musée Ingres.

Gallery

The Envoys of Agamemnon, 1801, oil on canvas, École des Beaux Arts, Paris

 

Napoleon I on his Imperial Throne, 1806, oil on canvas, 260 x 163 cm, Musée de l’Armée, Paris

 

Madame Rivière, 1806, oil on canvas, 116.5 x 81.7 cm, Louvre

Portrait of fellow student Merry-Joseph Blondel in front of the Villa Medici in 1809

 

Virgil reading to Augustus, 1812, oil on canvas, 304 x 323 cm, Musée des Augustins, Toulouse

 

Grande Odalisque, 1814, oil on canvas, 91 x 162 cm, Louvre. The subject’s elongated proportions, reminiscent of 16th-century Mannerist painters, reflect Ingres’s search for the pure form of his model.

Portrait of Louis-François Bertin, 1832, oil on canvas, 116 x 96 cm, Louvre

 

The Turkish Bath, 1862, oil on canvas, diam. 108 cm, Louvre. A summation of the theme of female voluptuousness attractive to Ingres throughout his life, rendered in the circular format of earlier masters.

 

Oedipus and the Sphinx, 1864, oil on canvas, 105.5 x 87 cm, The Walters Art Museum

The Virgin Adoring the Host, 1852

Odalisque with Slave, 1842, oil on canvas, 76 x 105 cm, Walters Art Gallery, Baltimore

 

Roger Freeing Angelica, 1819, oil on canvas, 147 x 190 cm, Louvre, portrays an episode from Orlando Furioso by Ludovico Ariosto

Mme Victor Baltard and Her Daughter, Paule, 1836, pencil on paper 
Ingrid Bergman

ingridbergman-ingrid-nrfpt-10

And today is the birthday of Ingrid Bergman and also the day she died (Stockholm; 29 August 1915 – 29 August 1982 London); actress who starred in a variety of European and American films.  She won three Academy Awards, two Emmy Awards, four Golden Globe Awards, a BAFTA Award, and the Tony Award for Best Actress.  Perhaps best remembered for her roles as Ilsa Lund in Casablanca (1942) and as Alicia Huberman in Notorious (1946), an Alfred Hitchcock thriller starring Cary Grant and Claude Rains.

Before becoming a star in American films, Bergman had been a leading actress in Swedish films.  Her introduction to American audiences came with her starring role in the English-language remake of Intermezzo (1939).  At her insistence, producer David O. Selznick agreed not to sign her to a contract – for four films rather than the then-standard seven-year period, also at her insistence – until after Intermezzo had been released.

Selznick’s financial problems meant that Bergman was often loaned to other studios.  Apart from Casablanca, her performances from this period include Victor Fleming’s remake of Dr. Jekyll and Mr. Hyde (1941), For Whom the Bell Tolls (1943), Gaslight (1944), and The Bells of St. Mary’s (1945).  Her last films for Selznick were Alfred Hitchcock’s Spellbound (1945) and Notorious (1946).  Her final film for Hitchcock was Under Capricorn (1949).

After a decade in American films, she starred in Roberto Rossellini’s Stromboli (1950), following the revelation that she was having an extramarital affair with the director.  The affair and then marriage with Rossellini created a scandal in the US that forced her to remain in Europe for several years, when she made a successful Hollywood return in Anastasia (1956), for which she won her second Academy Award.  Many of her personal and film documents can be seen in the Wesleyan University Cinema Archives.

In 1948, Bergman sent a letter to Italian director Roberto Rossellini, proposin’ a collaboration:

Dear Mr. Rossellini,
I saw your films Open City and Paisan, and enjoyed them very much. If you need a Swedish actress who speaks English very well, who has not forgotten her German, who is not very understandable in French, and who in Italian knows only “ti amo”, I am ready to come and make a film with you.

Ingrid Bergman

With this letter began one of the best known love stories in film history, with Bergman and Rossellini both at the peak of their careers.  She went on to star in Rossellini’s Italian film Stromboli (1950), which led to a love affair while they were both already married.  The affair and then marriage with Rossellini created a scandal that forced her to remain in Europe until 1956.  Alas, it apparently was not true love for them; they divorced in 1957 and they both remarried.

Woody Guthrie wrote the lyrics for a song called “Ingrid Bergman”.  Here it is performed by Billy Bragg.  Click here!

Mac Tag

Love is the master-key that opens the gates of happiness, of hatred, of jealousy, and, most easily of all, the gate of fear. How terrible is the one fact of beauty.Oliver Wendell Holmes

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The Lovers’ Chronicle 28 August – two hands – birth of Goethe – art by Edward Burne-Jones – photography by Vittorio Sella – verse by Leigh Hunt

Dear Zazie,  Here is today’s Lovers’ Chronicle from Mac Tag dedicated to his muse.  Follow us on twitter @cowboycoleridge.  I agree with Mac.  First kisses are among my most cherished memories.  Do you have any memorable kisses?  What happened when she/he kissed you?  Rhett

The Lovers’ Chronicle

Dear Muse,

this belongin’,
something new
from where we have been

what was settled
or not, left behind
and the canvas,
under our steady strokes,
revealin’, a greater healin’

feel the emotion
a cleansin’
a deep openin’ goes on

now held in two hands,
where will this life take us

© copyright 2021 mac tag/cowboy coleridge all rights reserved

watchin’ you,
chasin’ light
your brush dancin’
across the canvas
i look on as if seein’
for the first time
i sense a beginnin’,
an openin’ between us
a belongin’, somethin’
new from where i have been
you put the brush in my hand
now held in two hands,
where will it take us

© copyright 2020 mac tag/cowboy coleridge all rights reserved

write what cannot be said
never saw this comin’
but those blue eyes
and that smile
there is more to you
than i could imagine
been such a long time
but the inspiration flows
strong enough to sweep
away all that came before
then, there it is
in the arms
of a favorite moment

© copyright 2019 mac tag/cowboy coleridge all rights reserved

my favorite moments for sure
“Mine are the anticipation
leading up to those moments.”

funny, i was writin’
about you today
still on my mind
from last night
i expect

you know
you can take
comfort, always

two hands,
yours in mine
and together
we will face it all

© copyright 2018 mac tag/cowboy coleridge all rights reserved

“When I rise, he is already up,
his brush dancing across the canvas
Watching him, chasing first light.
I look on as if seeing for the first time.”

“I sense in him a beginning,
a belonging, something
new from where he has been.”

“What was settled or not,
he has left behind. And the canvas,
under his steady strokes is revealing,
gradually a greater healing.”

“I can feel the brush strokes
a motion bearing down, an accumulation.
His careful strokes, the swirling; a cleansing.”

“I stand near him and he looks at me
A deep opening goes on in him
He puts the brush in my hand
and his hand guides mine.”

“Now held in two hands,
where will this life take us.”

© copyright 2017 mac tag/cowboy Coleridge all rights reserved

 

Goethe_(Stieler_1828)Today is the birthday of the father of German literature, Johann Wolfgang von Goethe, born in Frankfurt (1749), the author of the epic drama Faust. He moved to Italy in 1786, and when he returned to Germany in 1788, he fell in love with a woman from Weimar, Christiane Vulpius, a 23-year-old who was 16 years his junior. That year, he wrote her an epithalamium, a specific type of poem written for a bride on the way to the marital chamber. But he did not actually marry her; instead, the couple lived together for 18 years unwed.0

goetheChristiane-von-Goethe-VulpiusThey were still living together in 1806, unmarried and with children, when some of Napoleon’s French soldiers — who were drunk — broke into their home in Weimer one evening. Goethe was terrified, but Christiane started shouting at the soldiers, fending them off in hand-to-hand combat, and protecting the bewildered man of the house. After a prolonged skirmish, she pushed them out of the house and barricaded the kitchen and the cellar so the soldiers could not try to steal any more of their food. Grateful to the brave and steadfast woman who had saved his life and home, Goethe went down to a church the very next day and married her, his live-in girlfriend of 18 years.

Sir Edward Burne-Jones
Edward Burne-Jones Photogravure Hollyer.jpg

Photogravure of a portrait by his son Philip Burne-Jones, 1898

Today is the birthday of Edward Burne-Jones (Edward Burne-Jones; Birminham, England 28 August 1833 – 17 June 1898 London); artist and designer closely associated with the later phase of the Pre-Raphaelite movement, who worked closely with William Morris on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner & Co. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in Britain; his stained-glass include windows in St. Philip’s Cathedral, Birmingham, St Martin in the Bull Ring, Birmingham, Holy Trinity Church, Sloane Square, Chelsea, St Peter and St Paul parish church in Cromer, St Martin’s Church in Brampton, Cumbria (the church designed by Philip Webb), St Michael’s Church, Brighton, All Saints, Jesus Lane, Cambridge, St Edmund Hall and Christ Church, two colleges of the University of Oxford. His stained glass works also feature in St. Anne’s Church, Brown Edge, Staffordshire Moorlands and St.Edward the Confessor church at Cheddleton Staffordshire. Burne-Jones’s early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic “voice”. In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery(a new rival to the Royal Academy). These included The Beguiling of Merlin. The timing was right, and he was taken up as a herald and star of the new Aesthetic Movement.

In addition to painting and stained glass, Burne-Jones worked in a variety of crafts; including designing ceramic tiles, jewellery, tapestries, and mosaics.

In 1856 Burne-Jones became engaged to Georgiana “Georgie” MacDonald (1840–1920), one of the MacDonald sisters. She was training to be a painter.

Gallery

Burne-Jones with William Morris, 1874, by Frederick Hollyer

Portrait of Georgiana Burne-Jones, with Philip and Margaret, 1883

Margaret, daughter of Burne-Jones

Sidonia von Borcke, 1860

The Beguiling of Merlin, 1874

King Cophetua and the Beggar Maid, 1884, currently in the Tate Gallery, London.

The Golden Stairs, 1880

 

The last sleep of Arthur at Museo de Arte de Ponce, Ponce, Puerto Rico

 

 

20220828_174306Today is the birthday of Vittorio Sella (Biella, Kingdom of Sardinia; 28 August 1859 – 12 August 1943 Biella, Kingdom of Italy); photographer and mountaineer, who took photographs of mountains which are regarded as some of the finest ever made.

Sella was born in the foothills of the Alps and acquired his interest in Alpinism from his uncle, Quintino Sella. He made a number of significant climbs in the Alps, including the first winter ascents of the Matterhorn and Monte Rosa,[4] and the first winter traverse of Mont Blanc.  He took part in several expeditions further afield, including three to the Caucasus (where a peak now bears his name), to Mount Saint Elias in Alaska, to the Rwenzori in Africa, and the 1909 expedition to K2 and the Karakoram. The latter three expeditions were in the company of Luigi Amedeo, Duke of the Abruzzi. Sella continued to climb into his old age, and made his last attempt on the Matterhorn at seventy six. The attempt failed when one of his guides was injured in an accident.

Gallery

Village et Mte. Cristallo, c. 1880

Village et Mte. Cristallo, c. 1880

 

Mt. Tepli, Central Caucasus, c. 1890

Mt. Tepli, Central Caucasus, c. 1890

 

James_Henry_Leigh_Hunt_by_Benjamin_Robert_HaydonAnd it was on this day in 1859 that English poet Leigh Hunt died in London.

Ariadne Waking

The moist and quiet morn was scarcely breaking,
When Ariadne in her bower was waking;
Her eyelids still were closing, and she heard
But indistinctly yet a little bird,
That in the leaves o’erhead, waiting the sun,
Seemed answering another distant one.
She waked, but stirred not, only just to please
Her pillow-nestling cheek; while the full seas,
The birds, the leaves, the lulling love o’ernight
The happy thought of the returning light,
The sweet, self-willed content, conspired to keep
Her senses lingering in the feel of sleep;
And with a little smile she seemed to say,
“I know my love is near me, and ’tis day”.

One of my favorite memories of all is the memory of our first kiss.

Jenny Kissed Me

Jenny kissed me when we met,
Jumping from the chair she sat in;
Time, you thief, who love to get
Sweets into your list, put that in!
Say I’m weary, say I’m sad,
Say that health and wealth have missed me,
Say I’m growing old, but add,
Jenny kissed me.

The Song of the day is The Derailers – “Then She Kissed Me”

She Kissed Me

She would awaken,
with dawn barely breakin’,
lullin’ from overnight lovin’
Sweet contentment would conspire
to keep her lingerin’ at the edge of sleep.
Then, a little smile that seemed to say,
‘My love is near and it is day
and time to love again’
Then she would kiss me

Whatever else happened,
no matter what came
it mattered not
She kissed me

© copyright 2012 mac tag/Cowboy Coleridge all rights reserved

Mac Tag

Do you wish to roam farther & farther?

See! The Good lies so near.

Only learn to seize good fortune,

For good fortune’s always here.

Goethe

Who wants to understand the poem

Must go to the land of poetry;

Who wishes to understand the poet

Must go to the poet’s land.

– Goethe

A peevish self-will’d harlotry it is. – Shakespeare

One ought, every day at least, to hear a little song, read a good poem, see a fine picture, and if it were possible, to speak a few reasonable words.Goethe

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The Lovers’ Chronicle 27 August – signs – photography by Man Ray – Marriage of Mencken – Death of Cesare Pavese – Premiere of Roman Holiday

Dear Zazie,  How is your day?  Hope it was good.  Here is today’s Lovers’ Chronicle from Mac Tag dedicated to his muse.  Follow us on twitter @cowboycoleridge.  Do you have a story to tell?  Which way do you tell it?  Is it a story of two?  Rhett

The Lovers’ Chronicle

Dear Muse,

gazin’ at each other
stretched on the vision
you came to me
as i wished
fragments
of a scene
but enough
to see us
believe,
courage
now wound
tight enough
so i gotta know
never been one
to ignore clearly
marked signs
on the trail
saddle up darlin’
shall we see
what lies ahead

© copyright 2020 mac tag/cowboy coleridge all rights reserved

watchin’ each other
stretched out
sated for the moment
the mornin’ breeze
billows the curtains
of the open windows
and first light
dances across the room

the gaze is the same
lips move, but do not speak

just two watchin’
and waitin’ for signs

© copyright 2018 mac tag/cowboy coleridge all rights reserved

a door in a hallway
and behind that door
you came to me
as i wished
fragments of a scene
but enough
to see me through

signs ahead
my friend bret mosley
sings a song of hope,
then a dark haired
high plains beauty,
and now The Lioness
speakin’ of hope

never been one
to ignore clearly
marked signs
on the trail
saddle up darlin’
shall we see what lies ahead

believe, courage
now wound tight enough
so i gotta know
the day you walked away
would it have mattered
if i had asked you to stay

© copyright 2017 mac tag/cowboy Coleridge all rights reserved

Two

Just us two
Two bodies lyin’

Naked, exhausted.
Two people livin’
Two people talkin’
Two people believin’
Two different voices
Two ways to tell the story
Was there nothin’ I could do
To save you?
When did we become so unhappy?
We were so disappointed
Our dreams disjointed,
Sleepin’ out of tune
Through all of the mistakes

We held each other in the doorframe
Through the earthquakes

But no one could fix us no one could
There are no other witnesses
Just us two
The still gazes
Do not change in the shadows

© copyright 2012 mac tag/Cowboy Coleridge all rights reserved

*********************************************************************************************************************************************************

Man Ray
Man Ray 1934.jpg

Man Ray, photographed at the Théâtre de la Gaîté-Montparnasse exhibition in Paris by Carl Van Vechten on June 16, 1934

Today is the birthday of Man Ray (born Emmanuel Radnitzky in Philadelphia, August 27, 1890 – November 18, 1976 Paris); visual artist who spent most of his career in France.  He was a significant contributor to the Dada and Surrealist movements.  He produced major works in a variety of media but considered himself a painter above all.  Perhaps best known for his photography, he was a renowned fashion and portrait photographer.  Man Ray is also noted for his work with photograms, which he called “rayographs” in reference to himself.

In 1913, Man Ray met his first wife, the Belgian poet Adon Lacroix (Donna Lecoeur) (1887–1975), in New York.  They married in 1914, separated in 1919, and formally divorced in 1937.

In July 1921, Man Ray went to live and work in Paris, France.  He soon settled in the Montparnasse quarter favored by many artists.  Shortly after arriving in Paris, he met and fell in love with Kiki de Montparnasse (Alice Prin), an artists’ model and celebrated character in Paris bohemian circles.  Kiki was Man Ray’s companion for most of the 1920s.  She became the subject of some of his most famous photographic images and starred in his experimental films, Le Retour à la Raison and L’Étoile de mer.  In 1929, he began a love affair with the Surrealist photographer Lee Miller.

Man Ray was forced to return from Paris to the United States due to the Second World War.  He lived in Los Angeles, California from 1940 to 1951 where he focused his creative energy on painting.  A few days after arriving in Los Angeles, Man Ray met Juliet Browner, a first-generation American of Romanian-Jewish lineage.  She was a trained dancer, who studied dance with Martha Graham, and an experienced artists’ model.  The two married in 1946 in a double wedding with their friends Max Ernst and Dorothea Tanning.

He died in Paris on November 18, 1976 from a lung infection. He was interred in the Cimetière du Montparnasse in Paris. Ray’s epitaph reads “unconcerned, but not indifferent”.  When Juliet Browner died in 1991, she was interred in the same tomb. Her epitaph reads “together again”.

Gallery

Portrait of Kiki de Montparnasse

Portrait of Kiki de Montparnasse

Drink to me only with

Drink to me only with

1920, Three Heads (Joseph Stella and Marcel Duchamp, painting bust portrait of Man Ray above Duchamp), gelatin silver print, 20.7 x 15.7 cm, Museum of Modern Art, New York

1920, The Coat-Stand (Porte manteau), reproduced in New York dada (magazine), Marcel Duchamp and Man Ray, April, 1921

Lampshade, reproduced in 391, n. 13, July

 

With Salvador Dalí in Paris, on June 16, 1934 making “wild eyes” for photographer Carl Van Vechten

Fascinatin’ day today in romance history, dedicated to you.

hlmenckenOn this day in 1930, one of America’s most eligible bachelors got married. Journalist H.L. Mencken, almost 50, had never before been married.  He was a man who made fun of romance and who called marriage “the end of hope.”  My friend Jett loves that quote, though he keeps gettin’ married, and Rhett believes it is so.  So Mencken shocked America when he tied the knot on this day.  The bride, his girlfriend of seven years: Sara Haardt, of Montgomery, Alabama, an English professor, suffragist, and fellow writer.  She died of meningitis just five years after marryin’ Mencken.  Mencken was grief-stricken and never remarried.

20220827_164138On this day in 1950, Italian poet, writer, Cesare Pavese died from an overdose perhaps due to the failure of a brief love affair with the actress Constance Dowling, to whom his last novel (La luna e i falò, The Moon and the Bonfires (1950)), was dedicated (“For C. The ripeness is all”.)  And one of his last poems (“Death will come and she’ll have your eyes”) was dedicated to Dowling.

20220827_155559And on this day in 1953, William Wyler‘s film, Roman Holiday (1953) with Audrey Hepburn and Gregory Peck, premiered at Radio City Music Hall in New York City.  It was Hepburn’s first starrin’ role and she would win an Oscar.  A wonderful, romantic, sad movie.

The Poem of the Day is from Pavese:

Two

Man and woman watch each other lying in bed:
their two bodies stretched out wide and exhausted.
the man is still, only the woman takes long breaths
that quiver her ribs. The legs distended
are bony and knotted in the man’s. The whispers
from the sun-covered street are foisted on them.

The air hangs impalpable in the heavy shadow
and freezes the drops of living sweat
on the lips. The gazes from the adjoining heads
are identical, but they no longer find each other’s bodies
as when they first embraced. They nearly touch.

The woman’s lips move a little, but do not speak.
The breathing that swells the ribs stops
at the longest gaze from the man. The woman
turns her face close to the man’s, lips to lips.
But the man’s gaze does not change in the shadow.

Heavy and still weigh the eyes within eyes
at the warmth of the breath that revives the sweat,
desolate. The woman does not move her body,
supple and alive. The lips of the man come close
but the still gaze does not change in the shadow.

The Song of the Day is The Antlers“Two” 

Mac Tag

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