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

By J. A. Hiddleston

This research is an exam of Charles Baudelaire's (1821-67) paintings feedback and its courting along with his inventive writing. it's the first ebook in English to regard in a single quantity the various facets of the topic: the valuable aesthetic rules, the significance of the painters Delacroix, Boudin, Meryon, men, and Manet, Baudelaire's essays on laughter and comic strip, and different serious writings.

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If the painter painted only what he saw, the result would be false, the distance between the spectator and the canvas, the extent of air, being less than between the painter and the natural scene. The artist has therefore to resort to ruse and subterfuge, to the ‘mathematics’ of colour, in order to create the sense of reality. In his initial description of the expanse of nature, Baudelaire had insisted on the movement and vibration caused by the light and atmosphere. But the even brush stroke of traditional painting is inadequate when it comes to rendering the effects of colour.

I. ). BAM1 29 4/26/99, 11:59 AM       pre-existing pattern, a stock figure with no counterpart in reality. It involves the abuse of memory, not the memory of the model recollected in order to be universalized and appeal to the memory of the spectator, but the memory of a cliché which the hand has learned to reproduce, hopelessly removed from real, lived experience. Instead of delving into his imagination and giving expression to his naïve temperament, the painter draws mechanically upon a stock of prefabricated images.

Baudelaire is writing from memory. BAM1 34 4/26/99, 11:59 AM       and of course his own use of allegory is widely exemplified in the high art of Les Fleurs du Mal, and ironically in the more strident Spleen de Paris. It then seems odd that in the following year he should make no mention of Delacroix’s use of allegory in his public decorations, but praise him for not painting Apollo and the Muses (‘décoration invariable des bibliothèques’), and for yielding to his irresistible taste for Dante in painting the Luxembourg ceiling (p.

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