Charles Baudelaire was a French poet who discussed the industrializing Paris of the 19th century. He is often credited with inventing the term modernity especially in regards to the urban cityscape. Much like Victor Hugo, Baudelaire was very influenced by his nostalgia for the old Paris.
We have no friends—that is a great thing—and no enemies. Everything that pleases has a reason for pleasing, and to scorn the throngs of those that have gone astray is no way to bring them back to where they ought to be.
Baudelaire followed the traditional format of the art critic, a walk through a huge salon exhibition, pausing here and there, giving some artists an entire page and others a mere sentence.
Interspersed were pages of commentary on the state of the arts, which, combined over time, created a description of the culture of two decades in Paris. The art writer was a product of the Romantic period. Reading his reviews of the Salons, it is plain that he was imbued with the tenants of Romantic thought, but by the time his career began, Romanticism was on the wane and new ways of thinking about art were being developed.
Delacroix is decidedly the most original painter of ancient or of modern times…M. Delacroix is not yet a member of the Academy, but morally he belongs to it.
They looked for it outside themselves, but it was only to be found within. For me, Romanticism is the most recent, the latest expression of the beautiful. For him, and for many artists, Romanticism was the very expression of all that was modern: Unknowingly working against waning Romanticism and predicting Realism, Baudelaire made a case for modern subject matter.
Absolute and eternal beauty does not exist, or rather it is only an abstraction skimmed from the general surface of different beauties.
The particular element in each manifestation comes from the emotions; and just as we have our own particular emotions, so we have our own beauty. For years, Baudelaire the art writer went dark, while he translated the American poet Edgar Allan Poe and wrote his ill-fated book of poetry Les Fleurs du Mal On one hand, one could speculate that the writer was confounded by the death of Romanticism, but, on the other hand, he had been on the cutting edge by predicting the coming of an art that demanded contemporary subjects.
But the kind of realism that developed after the Revolution of was based upon observation of the base and the banal, the ordinary world according to Gustave Courbet. Picking up his earlier thoughts, Baudelaire returns to the subject of beauty.
In writing of photography, Baudelaire also expresses his horror of the new tendencies towards objectivity and of scientific observation.
There is no greater delight, no finer triumph than an excellent copy of nature. To these doctrinaires, who were so completely satisfied by Nature, a man of imagination would certainly have the right to reply: Nature is ugly, and I prefer the monsters of my fantasy to what is positively trivial.Critique of Baudelaire's Poem Correspondences(?) by Henri Dorra* The diverse sources of this poem have been amply studied.
Baudelaire acknowledged that the mystic Emanuel Swedenborg had advocated the principle of correspondences and the utopian socialist Charles Fourier that of analogies. Final Critique The topic of this critique about Charles Baudelaire is kind of an insight into the background of his life.
His life was filled with an immense amount of mental and physical suffering.
Charles was an alcoholic and had lots of drug addictions. Charles Baudelaire is one of the most compelling poets of the nineteenth century.
While Baudelaire's contemporary Victor Hugo is generally—and sometimes regretfully—acknowledged as the greatest of nineteenth-century French poets, Baudelaire excels in his unprecedented expression of a complex sensibility and of modern themes .
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Charles Baudelaire, in full Charles-Pierre Baudelaire, (born April 9, , Paris, France—died August 31, , Paris), French poet, translator, and literary and art critic whose reputation rests primarily on Les Fleurs du mal (; The Flowers of Evil), which was perhaps the most important and influential poetry collection published in Europe in .
Baudelaire’s Critique of Sculpture 97 viewed from only one, rigidly determined angle; similarly, what has the most weight is the meaning the painter intends to convey.