Jerome K. Jerome: “That Early Morning Bathe”

Photographers Unknown, That Early Morning Bathe

“…I notice that people always make gigantic arrangements for bathing when they are going anywhere near the water, but that they don’t bathe much when they are there.

It is the same when you go to the sea-side. I always determine—when thinking over the matter in London—that I’ll get up early every morning, and go and have a dip before breakfast, and I religiously pack up a pair of drawers and a bath towel. I always get red bathing drawers. I rather fancy myself in red drawers. They suit my complexion so. But when I get to the sea I don’t feel somehow that I want that early morning bathe nearly so much as I did when I was in town.

On the contrary, I feel more that I want to stop in bed till the last moment, and then come down and have my breakfast. Once or twice virtue has triumphed, and I have got out at six and half-dressed myself, and have taken my drawers and towel, and stumbled dismally off. But I haven’t enjoyed it. They seem to keep a specially cutting east wind, waiting for me, when I go to bathe in the early morning; and they pick out all the three-cornered stones, and put them on the top, and they sharpen up the rocks and cover the points over with a bit of sand so that I can’t see them, and they take the sea and put it two miles out, so that I have to huddle myself up in my arms and hop, shivering, through six inches of water.”

Jerome K. Jerome, Three Men in a Boat

 

 

Ishii Shigeo

Ishii Shigeo, “Fissure” from his 1955-1957 series “Violence”

Ishii Shigeo became a reportage painter not by visiting remote villages or participating in demonstrations, but by exploring his country’s uneasy subconscious. Hobbled by debilitating asthma after a nearly fatal childhood attack, Ishii studied classical painting as a teenager but developed a distinct style of social critique in his oil paintings and etchings through his association with Ikeda Tatsuo, Nakamura Hiroshi, and other reportage and avant-garde painters. Conflating his own excruciating affliction with his country’s postwar predicament, Ishii, who died at 28 in 1962, left a large body of work still mostly neglected.

Because Ishii’s father was a bureaucrat in the Ministry of Finance with a secure salary, his mother was able to nurse her frail son, providing him with art lessons to compensate for the formal education his illness frequently absented him from, and paying for art supplies as his talent and passion for his increasingly morose vision became apparent. His younger sister remembered Ishii reading the entire newspaper every day in grade school. “He was the first to go and get the newspaper. I think he had his antennae out, waiting for information.” His friend Ikeda Tatsuo recalled: “When I got to know him, he had a nihilistic way of talking and an ironic smile. But he was always making remarks that were right on target. He was only 20 years old, but he’d already read Jean Genet and used to quote him.”

Calendar: January 1

A Year: Day to Day Men: 1st of January

Being Yourself

Born on January 1st in 1735 (modern calendar) in the city of Boston, Paul Revere was an American silversmith, engraver, early industrialist, and a member of the Sons of Liberty. He is best known for his April 1775 midnight ride to alert the local colonial militia to the approach of the British forces. This event later became popularized by the publication of poet Henry Wadsworth Longfellow’s 1861 “Paul Revere’s Ride”. 

The second of eleven children, Paul Revere left school at the age of thirteen and became an silversmith apprentice at the workshop of his father, Apollos Riveire whose work is now housed in the collections of Boston’s Museum of Fine Arts and the De Young Museum. Through the silversmith trade, Paul Revere made many connections across British society, which aided him when he became active in the American Revolution. Too young to officially be the master of the family silver shop after his father’s death in 1754, Revere enlisted in the provincial army in February of 1756. 

Commissioned a second lieutenant in the artillery regiment, Revere spent the summer of 1756 at Fort William Henry at New York’s Lake George. He did not stay long in the army; he returned to Boston and took control of the silver shop in his own name. Revere married Sarah Orne on the fourth of August in 1757. Together they had eight children of whom two died young. Revere’s business started to suffer when the British economy entered a recession due to the Seven Year’s War, a global conflict that involved most of Europe’s great powers. With the enactment of the Stamp Act of 1785 by the British government, the Massachusetts economy made a further downturn. 

Paul Revere did not participate in the more raucous protests against the policies of the British government; but he did become in 1765 a member of the Sons of Liberty, a loose organization active in the American colonies to advance the rights of colonists and fight taxation by the British government. From 1765 onwards, Revere produced engravinga and other artifacts with political theme, among which was one depicting the Boston Massacre in March of 1770. From 1773, the year of the Boston Tea Party, to November of 1775, he served as a courier for the Boston Committee of Public Service, a service in which he reported to New York and Philadelphia on the political unrest in Boston. 

In 1774, General Thomas Gage, the military governor of Massachusetts, dissolved the provincial assembly, closed the port of Boston, and forced private citizens to provide lodging in their homes for British soldiers. At this time, Revere began meeting with others to coordinate the gathering and dissemination of intelligence on the movements of British soldiers. In December of 1774, a false alert prompted him to ride to Portsmouth, New Hampshire to warn its citizens of a British troop landing. This ride later sparked a rebel success with a gunpowder supply raid at Fort William and Mary in Portsmouth. 

Paul Revers’s famous midnight ride was an alert to the American colonial militia in April of 1775 as to the approach of British forces. The ride occurred on the night of April 18th immediately before the first engagements of the American Revolutionary War. When activity by the British Army indicate a crackdown on the Massachusetts Provincial Congress, Rever and William Dawes prepared the alert. Robert Newman used a lantern to alert colonist in Charlestown to the Army’s advance of the Charles River. 

Revere and Dawes rode ten miles to meet John Hancock and Samuel Adams in Lexington, a ride which alerted forty other riders along the way. Revere and Dawes, along with Samuel Prescott rode on to Concord. The three riders were captured by the British in Lincoln. Dawes and Prescott escaped but Revere was returned to Lexington and eventually freed after questioning. By giving the colonists advance waring of the British Army’s movement, the ride played a crucial role in the colonists’ victories in subsequent battles. 

The Salvador Dali Theater and Museum

The Salvador Dali Theater and Museum, Figueras, Spain

The Dali Theater and Museum is a museum of the artist Salvador Dali in his home town of Figueras, Catalonia, Spain. Dalí is buried there in a crypt below the stage floor which is located under the geodesic dome cupola.

The heart of the museum is the town’s theatre that Dalí knew as a child. It was where one of the first public exhibitions of young Dalí’s art was shown. The old theatre was burned during the Spanish Civil War and remained in a state of ruin. In 1960, Dalí and the mayor of Figueres decided to rebuild it as a museum dedicated to the town’s most famous son. In 1968, the city council approved the plan, and construction began the following year. The architects were Joaquim de Ros i Ramis and Alexandre Bonaterra. The museum opened on September 28, 1974 and it expanded through the mid-1980s.

The museum displays the single largest and most diverse collection of works by Salvador Dalí, the core of which was from the artist’s personal collection. The museum also houses a small selection of works by other artists collected by Dalí, ranging from El Greco and Bougereau to Marcel Duchamp and Joh de Andrea; a second floor gallery is devoted to fellow Catalan artist Antoni Pitxot.

“I want my museum to be a single block, a labyrinth, a great surrealist object. It will be a totally theatrical museum. The people who come to see it will leave with the sensation of having had a theatrical dream.” -Salvador Dali