By Ann Kennedy Smith
Sooner than changing into a poet, Charles Baudelaire was once an paintings critic; and he made his literary début with the Salon de 1845. Its failure to discover a receptive viewers led him to jot down the groundbreaking Salon de 1846 with its pivotal bankruptcy on color, during which Baudelaire challenged basic severe strategies of paintings by way of insisting on colour’s complexity, expressivity and modernity. via an in depth examining of his severe essays on artwork, this booklet examines how Baudelaire’s concepts on color built all through his existence and units them within the context of conventional perspectives of color. What impact did the hot clinical theories of color concord, filtered via his conversations with Delacroix and different artists, have on Baudelaire? Why did he see Daumier as a colourist, yet now not Ingres? What made him flip his again on French paintings in 1859 and which artist replaced his brain? Baudelaire’s curiosity in a hugely own kind of color symbolism is investigated, in addition to the half that color performs in constructing his later, vital thought of an artistic and poetic mind's eye in a position to translating the entire arts.
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Additional resources for Painted Poetry: Colour in Baudelaire's Art Criticism (Modern French Identities)
Example text
This appears to contradict what Gautier will go on to say about the power and dark violence of Delacroix’s colour in 1838, the same Salon that Baudelaire had read as a boy. However, even in this Salon Gautier had issued a warning against too much colour in painting, not because, as we might have supposed, it was too powerful and disturbing, but because it might distract from the seriousness of art, as if once again colour was nothing more than an eye-catching display of brilliance. He is pleased that the inf luence of Ingres on artists acts as a counterbalance: ‘l’inf luence de M.
16 Chapter 1 provides a clear indication of the Académie’s view of what was important in painting, because, as he writes, if the aspiring artist possessed this book he would have the means of making the expressions and gestures of his characters exact and entirely legible to the spectator. In LeBrun’s concentration on the face and the cataloguing of its expressions to make it comprehensible in the same way that the subject-text of the painting must be readily comprehensible, there is no particular need for colour; only skilful and accurate draughtsmanship are essential.
71 With this assertion Thoré neatly reverses the familiar process of thought whereby colour was traditionally less respected because it was considered to come after line, and he prepares the ground for Baudelaire’s emphasis on colour. ’72 There is another aspect of colour that Thoré emphasized that may well have inf luenced the young Baudelaire: the connection between colour and music, and this will be explored further in Chapter 4. In the 1840s several other critics also attempted to redefine the parameters of colour and draughtsmanship.