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

By J. A. Hiddleston

This learn 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 varied elements of the topic: the primary aesthetic rules, the significance of the painters Delacroix, Boudin, Meryon, men, and Manet, Baudelaire's essays on laughter and sketch, and different severe writings.

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Is merciless; whereas Laverdant, who maintained that Denis Diderot, Salons, i. ed. Jean Seznec (Oxford: Clarendon Press, ), . Salon de , –, and ‘L’Art: l’harmonie du beau et de l’utile’, Romantisme,  (). 50 For an account of Baudelaire’s links with Fourierists see Peter Hambly, ‘Idéologie et poésie: notes sur Baudelaire et ses contemporains’, Australian Journal of French Studies, / (), –. ’51 Such overt didacticism was alien to Baudelaire’s way of thinking.

Iii (Oxford: Clarendon Press, –), . 54 ‘Du dessin de Delacroix, si absurdement, si niaisement critiqué, que faut-il dire, si ce n’est qu’il est des vérités élémentaires complètement méconnues; qu’un bon dessin n’est pas une ligne dure, cruelle, despotique, immobile, enfermant une figure comme une camisole de force; que le dessin doit être comme la nature, vivant et agité; que la simplification dans le dessin est une monstruosité, comme la tragédie dans le monde dramatique; que la nature nous présente une série infinie de lignes courbes, fuyantes, brisées, suivant une loi de génération impeccable, où le parallélisme est toujours indécis et sinueux, où les concavités et les convexités se correspondent et se poursuivent; que M.

Their work tends to be too clear, much like a photograph, and too specific, too faithful to the detail of the model; whereas the colourist paints from memory, omitting accessory detail, as a consequence making the painting less specific and more general. The result, since ‘l’imitation exacte gâte le souvenir’, is that such painting, like Delacroix’s, not only springs from the memory of the painter, but equally or more importantly it speaks to the memory of the spectator, who has less the sense of being confronted by something external to himself than of recognizing an experience already encountered at some level or other of awareness.

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