Baudelaire and the Art of Memory by J. A. Hiddleston

Baudelaire and the Art of Memory by J. A. Hiddleston

By J. A. Hiddleston

This examine is an exam of Charles Baudelaire's (1821-67) artwork feedback and its dating along with his inventive writing. it's the first publication in English to regard in a single quantity the varied features of the topic: the central aesthetic principles, the significance of the painters Delacroix, Boudin, Meryon, men, and Manet, Baudelaire's essays on laughter and comic strip, and different severe writings.

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First, he substitutes le chic for draughtsmanship, le chic being the lack of reference to a model or to nature and their replacement by a 61 Journal, ,  Dec. . See also p. ,  May . But see Baudelaire’s comment () on the painter’s praise of Racine. 62 The expression (from Latin extravagare) is Scottish. 63 The expression is Baudelaire’s: ‘Le Français est un animal de basse-cour, si bien domestiqué qu’il n’ose franchir aucune palissade. Voir ses goûts en art et en littérature’ (Oc.

Draughtsmen, he claims, are exclusive, not having the time to see air and light, and being bent upon following outline in its most secret undulations. Their ability shows itself in the purity and finesse of outline, which of necessity excludes touch; whereas with the colourist, ‘l’amour de l’air, le choix des sujets à mouvement, veulent l’usage des lignes flottantes et noyées’. In a word, particularly in the depiction of detail, ‘la touche mangera toujours la ligne’. It was common for traditionalists to consider Delacroix’s draughtsmanship inferior to that of Ingres, the greatest contemporary dessinateur and head of his own school of Ingristes.

35 He makes no mention of Boissy d’Anglas, which is even more deeply black than L’Evèque de Liège. 36 On pure draughtsmen Baudelaire makes the following disparaging comment: ‘Ils commencent par délimiter les formes d’une manière cruelle et absolue, et veulent ensuite remplir ces espaces. Cette méthode double contrarie sans cesse leurs efforts, et donnent à toutes leurs productions je ne sais quoi d’amer, de pénible et de contentieux’ (). 37 Colour obeys analogous laws to music. It is one thing, however, to say that generally in Delacroix the harmony of colour evokes the music of Weber, and quite another to try to apply the temporal and successive notion of melody to the timeless spaciality of painting.

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