Baudelaire's essays on caricature offered the first sustained defense of the value of caricature as a serious art, worthy of study in its own right. This book argues for the crucial importance of the essays for his conception of modernity, so fundamental to the subsequent history of modernism. From the theory of the comic formulated in De l'essence du rire to his discussions of Daumier, Goya, Hogarth, Cruikshank, Bruegel, Grandville, Gavarni, Charlet, and many others, Baudelaire develops not only an aesthetic of caricature but also a caricatural aesthetic--- dual and contradictory, grotesque, ironic, violent, farcical, fantastic, and fleeting--- that defines an art of modern life.In particular, Baudelaire's insistence on the dualism and ambiguity of laughter has radical implications for such emblems of modernity as the city and the flaneur who roams the streets. The modern city is the space of the comic, a kind of caricature, presenting the flaneur with an image of dualism, one's position as subject and object, implicated in the same urban experiences one seems to control. The theory of the comic invests the idea of modernity with reciprocity, one's status as laughter and object of laughter, thus preventing the subjective construction and appropriation of the world that has so often been linked with the project of modernism. Comic art reflects what Walter Benjamin later defined as Baudelairean allegory, at once representing and revealing the alienation of modern experience. But Baudelaire also transforms the dualism of the comic into a peculiarly modern unity--- the doubling of the comic artist enacted for the benefit of the audience, the self-generating and self-reflexive experience of the flaneur in a ''communion'' with the crowd. This study examines his views in the context of the history of comic theory and contemporary accounts of the individual artists. Complete with illustrations of the many works discussed, it illuminates the history and theory of caricature, the comic, and the grotesque, and adds to our understanding of modernism in literature and the visual arts.
Searching Book Reviews.
David Alexander. Richard Newton and English Caricature in the 1790s. Manchester University Press. 1998. 178pp.
Martha Banta. Barbaric Intercourse: Caricature and the Culture of Conduct, 1841-1936. University of Chicago Press. 2003. 433pp.
L. Perry Curtis, Jr.. Apes and Angels: The Irishman in Victorian Caricature. Smithsonian Institution Press. 1971. 126pp.
Diana Donald. The Age of Caricature: Satirical Prints in the Reign of George III. Yale University Press. 1996. 256pp.
Graham Everitt. English Caricaturists and Graphic Humourists of the Nineteenth Century. London: Swan Sonnenschein & Co. 1893. 427pp.
Robert Justin Goldstein. Censorship of Political Caricature in Nineteenth-Century France. Kent State University Press. 1989. 293pp.
Michele Hannoosh. Baudelaire and Caricature: From the Comic to an Art of Modernity. Penn State Press. 1992. 348pp.
Werner Hofmann. Caricature: from Leonardo to Picasso. John Calder. 1957. 150pp.
David S. Kerr. Caricature and French Political Culture, 1830-1848: Charles Philipon and the Illustrated Press. Oxford University Press. 2000. 242pp.
Bohun Lynch. A History of Caricature. Faber and Gwyer. 1926. 126pp.
Wendy Wick Reaves. Celebrity Caricature in America. Yale University Press. 1998. 306pp.
Kenneth T. Rivers. Transmutations: Understanding Literary and Pictorial Caricature. University Press of America. 1991. 330pp.
Henry B. Wonham. Playing the Races: Ethnic Caricature and American Literary Realism. Oxford University Press. 2004. 196pp.
Thomas Wright. A History of Caricature and Grotesque in Literature and Art. Chatto and Windus. 1875. 494pp.
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From the Comic to an Art of Modernity Michèle Hannoosh
Baudelaire's essays on caricature offered the first sustained defense of the value of caricature as a serious art, worthy of study in its own right. This book argues for the crucial importance of the essays for his conception of modernity, so fundamental to the subsequent history of modernism. From the theory of the comic formulated in De l'essence du rire to his discussions of Daumier, Goya, Hogarth, Cruikshank, Bruegel, Grandville, Gavarni, Charlet, and many others, Baudelaire develops not only an aesthetic of caricature but also a caricatural aesthetic—dual and contradictory, grotesque, ironic, violent, farcical, fantastic, and fleeting—that defines an art of modern life.
In particular, Baudelaire's insistence on the dualism and ambiguity of laughter has radical implications for such emblems of modernity as the city and the flâneur who roams the streets. The modern city is the space of the comic, a kind of caricature, presenting the flâneur with an image of dualism, one's position as subject and object, implicated in the same urban experiences one seems to control. The theory of the comic invests the idea of modernity with reciprocity, one's status as laughter and object of laughter, thus preventing the subjective construction and appropriation of the world that has so often been linked with the project of modernism. Comic art reflects what Walter Benjamin later defined as Baudelairean allegory, at once representing and revealing the alienation of modern experience. But Baudelaire also transforms the dualism of the comic into a peculiarly modern unity— the doubling of the comic artist enacted for the benefit of the audience, the self-generating and self-reflexive experience of the flâneur in a "communion" with the crowd. This study examines his views in the context of the history of comic theory and contemporary accounts of the individual artists. Complete with illustrations of the many works discussed, it illuminates the history and theory of caricature, the comic, and the grotesque, and adds to our understanding of modernism in literature and the visual arts.
Michele Hannoosh is Associate Professor of French and Comparative Literature at the University of California, Davis. She has been a Fellow of the Society of Fellows in the Humanities, Columbia University, and the Institute for Advanced Study, Princeton. She is the author of Parody and Decadence: Laforgue's "Moralites legendaires" (Ohio State, 1989).Other Ways to Acquire
1. Parody and Decadence. Laforgue's Moralités légendaires. Ohio State University Press, 1989. 275 pp. Reissued in paperbook 2016.
2. Baudelaire and Caricature. From the Comic to an Art of Modernity. The Pennsylvania State University Press, 1992. 348 pp. with 60 plates
3. Painting and the Journal of Eugène Delacroix. Princeton University Press, 1995. 215 pp. with 54 plates
4. (Co-authored) Eugène Delacroix. Nouvelles Lettres. Édition établie, annotée et commentée par Lee Johnson et Michèle Hannoosh. Bordeaux, William Blake & Co. 2000. Edition of 94 unpublished letters with introduction and notes. 140 pp. with 7 plates
5. Eugène Delacroix: Journal. Nouvelle édition intégrale établie par Michèle Hannoosh. 2 vols. Éditions José Corti, 2009. 2520 pp.
A major critical edition (in French) of Delacroix's diary, incorporating new manuscript sources and substantial unpublished material which I discovered; with introduction, notes, and indices. Contents: Introduction; 1822-1863, including Voyage to the Maghreb; "Carnets, notes et fragments", comprising all his notes on art and aesthetics (many unpublished), numerous notebooks newly discovered or reconstituted, complete biographical répertoire of all contemporaries named in the diary, Delacroix's own autobiographical notes, etc.
Times Literary Supplement. 5 May 2010, by Julian Barnes
Click here to download.
The Burlington Magazine. September 2010, by Jon Whiteley
Click here to download.
Nineteenth-Century French Studies vol. 39, nos 1-2, Fall-Winter 2010-11, by Wendelin Guentner
Click here to download.
Revue d'histoire du XIXe siècle 41, December 2010) by Nicole Edelman
1. The Early Laforgue. Tessa
French Forum (1983) 20-32
2. Painters of Modern Life. Baudelaire and the Impressionists
Visions of the Modern City. ed. W. Sharpe and L. Wallock, New York, Proceedings of the Heyman Center for the
Humanities (1983) 164-84
Republished by The Johns Hopkins University Press (Baltimore, 1987), 168-88
3. Laforgue's Salomé and the Poetics of Parody
Romanic Review 75 (1984) 51-69
4. The Poet as Art Critic: Laforgue's Aesthetic Theory
Modern Language Review 79 (1984) 553-69
5. Painting as Translation in Baudelaire's Art Criticism
Forum for Modern Language Studies 22, 1 (1986) 22-33
6. 'Metaphysicality' and Belief. Eliot on Laforgue
Comparative Literature 39, 4 (1987) 340-351
7. Jules Laforgue, lecteur de Delacroix: notes in&eactue;dites
Studi francesi 93 (1987) 407-420
8. L'Autocritique de la parodie: l'épilogue de Persée et Andromède
Laforgue aujourd'hui. ed. J. Hiddleston, Paris, José Corti (1988) 155-65
9. The Function of Literature in Baudelaire's La Fanfarlo
L'Esprit créateur 28, 1 (1988) 42-55
10. Etching and Modern Art. Baudelaire's Peintres et aquafortistes
French Studies 43, 1 (1989) 47-60
11. The Reflexive Function of Parody. Self-Criticism and Creativity
Comparative Literature 41, 2 (1989) 113-27
12. La Femme, la ville, le réalisme: fondements épistémologiques dans le Paris de Balzac
Romanic Review 82, 2 (1991) 127-45
14. Ut Pictura Poesis. Delacroix and the Sublime
Essays in Honor of Wesley Trimpi. special issue of Hellas. ed. K. Eden and S. Shankman, 7, 2 (Fall/Winter 1996)
15. (Co-authored with Lee Johnson) Delacroix's 'Hercules Cycle' in the Salon de la Paix of the Hôtel de Ville, Paris
Burlington Magazine CXXXIX, 1129 (April 1997) 256-257
16. A Painter's Impressions of Modernity: Delacroix, Citizen of the Nineteenth Century
Impressions of French Modernity: 1850-1900. ed. R. Hobbs, Manchester University Press (1998) 9-29
17. Delacroix's Journal
Encyclopedia of Aesthetics. ed. Michael Kelly, Oxford University Press (1998) 513-16. Rev. ed. 2014
18. Caricature and Modernity
Encyclopedia of Aesthetics. ed. Michael Kelly, Oxford University Press (1998) 344-347. Rev. ed. 2014
19. Alexandre et les poèmes d'Homère: Les Bibliothèques de Delacroix
Homère en France après la Querelle 1715-1900, Actes du colloque de Grenoble. ed. F. Létoublon et
C. Volpilhac-Auger (Paris, Honoré Champion, 1999) 421-33
20. Jules Laforgue, Mélanges philosophiques (edition with introduction and notes)
Jules Laforgue, Oeuvres complètes. vol. III, ed. P.O. Walzer, J.L. Debauve et al. Lausanne: L'Age d'Homme (2000)
21. Delacroix as Essayist: Writings on Art
Cambridge Companion to Delacroix. ed. B. Wright, Cambridge University Press, 2001, 154-169
22. From 'Nevermore' to Eternity: Mallarmé, Manet and 'The Raven'
The Dialogue between Painting and Poetry. Livres d'artistes 1874-1999. ed. Jean Khalfa, exhibition catalogue,
Fitzwilliam Museum, Cambridge (Black Apollo Press, 2001) 37-57
23. An Unpublished Letter from Sir Thomas Lawrence to Delacroix
The Burlington Magazine CXLVI (May 2004) 323-326 (large format)
24. "Les premiers peintres romantiques": Delacroix et l'école anglaise
Paris 1820. L'affirmation de la génération romantique. ed. Sébastien Allard (Paris, Peter Lang, 2005), 113-129
25. Baudelaire et la parodie
Poétiques de la parodie et du pastiche de 1850 à nos jours. eds Catherine Dousteyssier-Khoze et Floriane Place-
Verghnes (Oxford and Bern: Peter Lang, 2006), 121-135
26. Delacroix and Sculpture
Nineteenth-Century French Studies XXXV, 1 (2006) 95-109
27. Théophile Silvestre's Histoire des artistes vivants. Art Criticism and Photography
The Art Bulletin LXXXVIII, 4 (December 2006), 729-755 (large format)
28. Achille Piron, compagnon fidèle, héritier biographe, ami choisi
Bulletin de la Société des amis du Musée national Eugène Delacroix. n. 5 (mai 2007) 8-13
29. Peinture, caricature, maquillage: Baudelaire et l'art moderne
Charles Baudelaire: Dichter und Kunstkritiker. ed. K. Westerwelle (Würzburg: Königshausen &
Neumann, 2007), 163-173
30. Between Ingres, Delacroix and the Pre-Raphaelites: A (No Longer) Anonymous Painter in Italy
The Burlington Magazine. CL, 1262 (May 2008), pp. 301-311 (large format)
31. Imagination esthétique et conscience historique: Jules Michelet et les arts plastiques
Romantismes. L'esthétique en acte. ed. Jean-Louis Cabanès (Nanterre, Presses universitaires de Paris Ouest, 2009),
33. Correspondances baudelairiennes
Stimmung. Ästhetische Kategorie und k¨nstlerische Praxis. ed. Kerstin Thomas (Berlin, Deutscher Kunstverlag
Berlin München, 2010), 69-77
Expanded version published as "Peinture et correspondances dans l'œuvre de Baudelaire," Cahiers de l'Association
internationale des études françaises 62 (May 2010), 207-221
35. Romanticism. Art, Literature, and History
Cambridge History of French Literature. ed. W. Burgwinkle, N. Hammond and E. Wilson (Cambridge,
Cambridge University Press, 2011), 450-60
36. Reading the Trial of the Fleurs du mal
Modern Language Review 106, 2 (April 2011), 374-87
37. Delacroix, écrivain et lecteur: Autoportrait de l'artiste au second degré
Delacroix: de l'idée à l'expression (1798-1863). exhibition catalogue, ed. Sébastien Allard, Madrid and
Barcelona, Fundació La Caixa, 2011, 60-72.
Translated into Spanish as "Delacroix escritor y lector: Autorretrato indirecto del artista," in Delacroix, de la idea a la expresión
38. Delacroix. Le langage des fleurs
Delacroix, Othoniel, Creten. Des fleurs en hiver. exhibition catalogue, ed. Christophe Leribault Musée national
Eugène Delacroix, Paris, Louvre Éditions, 2012, 25-75
39. Delacroix and the ends of civilizations
Delacroix and the Question of Finish. exhibition catalogue, ed. Eik Kahng, Santa Barbara Museum of Art, New Haven, Yale University Press, 2013, 76-93
40. Sainte amitié, amitié divine: Delacroix et ses amis
De Goya à Delacroix: Les relations artistiques de la famille Guillemardet. exhibition catalogue,
ed. Brigitte Maurice-Chabard, Paris, Réunion des musées nationaux, 2014, 105-116
41. Practices of Photography. Circulation and Mobility in the Nineteenth-Century Mediterranean
History of Photography. 40, 1 (February 2016), 3-27
42. Horace Vernet’s Orient: Photography and the Eastern Mediterranean in 1839
The Burlington Magazine, CLVIII (April 2016), 264-71 (Part I). Part II forthcoming in June 2016 issue.
1. D. Arkell, Looking for Laforgue
L'Esprit créateur 21, 2 (1981) 99
2. P. Bonnefis, Mesures de l'ombre
French Studies 42, 3 (1988) 359-60
3. D. Scott, Pictorialist Poetics
Comparative Literature 42 (1990) 21-3
4. Elisabeth Howe, Stages of Self: The Dramatic Monologues of Laforgue, Mallarmé, and Valéry
Comparative Literature 45, 2 (1993) 203-4
5. Anne Holmes, Jules Laforgue and Poetic Innovation
Modern Philology 93, 3 (1996) 404-7
6. Exhibition "Delacroix: les dernières années" (Paris, Grand Palais, 1998)
Apollo CXLVIII, 438 (August 1998), 51-53
7. S. Le Men, La Cathédrale illustrée de Hugo à Monet
Print Quarterly XVI, 4 (December 1999), 403-404
8. Exhibition "Eugène Delacroix", Staatliche Kunsthalle Karlsruhe
The Burlington Magazine (March 2004), 201-203
9. Elisabeth Fraser, Delacroix, Art and Patrimony in Post-Revolutionary France
The Burlington Magazine CLVIII (May 2005)
10. Rosemary Lloyd, Shimmering in a Transformed Light: Writing the Still Life
Nineteenth-Century French Studies (2006)
11. Jules Laforgue. Papiers retrouvés. Ed. Jean-Louis Debauve, Mireille Dottin-Orsini, Jacques-André Dupré et
Nineteenth-Century French Studies 36.1 (2007), 175-177
12. Elizabeth Helsinger, ed. The "Writing" of Modern Life. The Etching Revival in France, Britain, and the U.S.,
Nineteenth-Century French Studies 41, 1-2 (Fall-Winter 2012-2013), pp. 149-150
13. Patrick Noon and Christopher Riopelle, Delacroix and the Rise of Modern Art. The Art
Newspaper. 16 February 2016 (click here to download ). Translated into Brazilian Portuguese and published in
On the Essence of Laughter | essay by Baudelaire | Britannica.com The view that laughter comes from superiority is referred to as a commonplace by Baudelaire. who states it in his essay " On the Essence of Laughter " (1855). The Essence of Laughter. And Other Essays. Journals and. The Essence of Laughter. And Other Essays. Journals, and Letters Charles Baudelaire Snippet view - 1956. References to this book. Baudelaire then began to study. Charles Baudelaire | The Home of Schlemiel Theory Charles Baudelaire. in his essay "Some Foreign. in contrast to the categories he set up in his famous "EssayonLaughter ," Baudelaire argues that Goya's. Baudelaire. Melmoth and Laughter - University of New Orleans Baudelaire. Melmoth and Laughter David Rutledge. Baudelaire'sessay may have inspired the name of a car. — David Rutledge, New Orleans. Title: Baudelaire. Charlie Hebdo and Baudelaire'sLaughter - New Mexico Mercury Charlie Hebdo and Baudelaire'sLaughter. It was with this dark maxim that Charles Baudelaire began his essay "On the Essence of Laughter ," the introduction. Baudelaireessayonlaughter. domyzpaczki.pl As a reflection of where the writer is in her own life she courageously shares personal, you baudelaireessayonlaughter aim to use one brief but apt quotation per. Charles Baudelaire and Daemonic Laughter (Take 2) | The Home. Charles Baudelaire and Daemonic Laughter (Take 2). Let's turn to Baudelaire'sessayonlaughter for answers. First of all, Baudelaire notes that. PDF Baudelaire. "The Painter of Modern Life" (1863) Created Date: 2/15/2002 12:14:46 PM Introduction — The Nature of Laughter - The Victorian Web Introduction — The Nature of Laughter. most notable: Charles Baudelaire ;. our affection and explains our derisive laughter in a brilliant essay. Charles Baudelaire - Modernism Lab Essays Charles Baudelaire. From Modernism Lab Essays. Jump to: navigation, search. Wiki Articles. Les Fleurs du Mal.www.jstor.org
Title: ESSENTIAL LAUGHTER. BAUDELAIRE'S DE L'ESSENCE DU RIRE Created Date: 20160330081630Z MICA: Text Finder - Essay Listing Text Finder - Essay Listing. Texts by Baudelaire. Charles. Writer/s: Charles Baudelaire Title: On the Essence of Laughter Date: 1855 Book/Source: The Mirror of Art Erowid Charles Baudelaire Vault. The Poem of Hashish 'The Poem of Hashish' by Charles Baudelaire (translated by Aleister Crowley) Humor | Internet Encyclopedia of Philosophy Henri Bergson's essay "Laughter ". Baudelaire. Charles. The Philosophy of Laughter and Humor. New York, SUNY. Morreall. The text of "The Lesson of Baudelaire " by T.S. Eliot This webpage contains the text of the essay 'The Lesson of Baudelaire' by T.S. Eliot that was published in The Tyro magazine in 1921. 350+ Scientific Research Papers on Laughter - Laughter Online. 350+ Scientific Research Papers on Laughter. Baudelaire. Charles. The Essence of Laughter. Laughter. An Essayon the Meaning of the Comic. Essence Of Laughter And Other Essays. Journals And Love. Amazon.com: Essence Of Laughter And Other Essays. Journals And Love Letters (9781258167004): Charles Baudelaire. Peter Quennell: Books comedy | literature and performance | Britannica.com The view that laughter comes from superiority is referred to as a commonplace by Baudelaire. who states it in his essay. in his essay " Laughter ," which deals. Baudelaire and Caricature: From the Comic to an Art of. Baudelaire'sessayson caricature offered the first sustained defense of the value of caricature as a serious art, worthy of study in its own right. Amazon.com: The Essence of Laughter. And Other Essays. Amazon.com: The Essence of Laughter. And Other Essays. Journals and Letters (9780810109056): Charles Baudelaire. Peter Quennell: BooksEssence of Laughter and Other Essays. Journals and Love.
Essence of Laughter and Other Essays. Journals and Love Letters by Baudelaire. Charles P./ Quennell, Peter [Hardcover] Includes Painter Of Modern Life And Poem Of. The Essence of Laughter. And Other Essays. Journals, and. The Essence of Laughter. And Other Essays. Journals, and Letters. Charles Baudelaire. Meridian Books, 1956 - 223 pages. Baudelaire as Critic by Roger Shattuck | The New York Review. Baudelaire hated the creed of progress and. Except in the two superb essayson Poe. and every significant text on the arts (On the Essence of Laughter. The essence of laughter. and other essays. journals, and. Get this from a library! The essence of laughter. and other essays. journals, and letters. [Charles Baudelaire ] The Writer of Modern Life: Essayson Charles Baudelaire Walter Benjamin's essayson the great French lyric poet Charles Baudelaire revolutionized not just the way we think about Baudelaire. but our understanding of. Free laughterEssays and Papers - 123helpme Free laughter papers, essays. and research papers. These results are sorted by most relevant first (ranked search). You may also sort these by color rating or. Laughter The Best Medicine - Essay. Article Laughter. Laughter The Best Medicine, Laughteressay. EssayonLaughter. Laughter Medicine, Laughter Benefits, Poem. Laughter. Laughter. Post navigation. I believe in laughter « Kelly | This I Believe I believe in laughter. especially when you can laugh at yourself. And, I'm not talking about a little chuckle or giggle. I am talking about the laughter that makes. Charles Baudelaire - Essays Charles Baudelaire This essay Charles Baudelaire is available for you on Essays24.com! Search Term Papers, College Essay Examples and Free Essayson Essays24.com. Project MUSE - Charles Baudelaire's Falling Man: Theorizing. For Baudelaire. this laughter results from the observer's sense of pride at the realization that he has not fallen—a realization establishing an inter-subjective.
In Baudelaire and Caricature Michele Hannoosh points to a quote by Charles Baudelaire from an article titled “Some French Caricaturists” that ran in L'Artiste in 1858. Of Daumier he writes:
“. one of the most important men, I will not say only of caricature, but also of modern art.” - page 88
Atherton Curtis wrote in Some Masters Of Lithography.
" In studying Daumier's work it is well to bear in mind that the vast majority of his three thousand seven hundred lithographs were done for the purpose of earning a living, and that he not only disliked lithography, but that caricature itself was distasteful to him. His one ambition in life was to be a painter, but poverty compelled him to turn his genius to other things." - page 75 " Daumier is beyond all doubt the greatest caricaturist that lithography has produced; perhaps it is not too much to say the greatest that any art has produced." - page 80 "Daumier reviewed in his lithographs almost all the passing events and fashions of his day, such as the comet which was to destroy the world in 1857; the various laws, with their effects on different people; crinolines, a never failing source of amusement to the caricaturists of the period; the influenza, magnetism, spiritualism, with all its absurdities of table-tipping; besides which he ridiculed all grades of society and all kinds of people - the rich, the poor, the middle classes, butchers, cab drivers, porters, artists, lawyers, judges, criminals, proprietors of houses and their tenants, amateur actors; in short no one escaped his raillery." - page 84
In Honoré Daumier: Appreciations of His Life and Works Duncan Phillips writes:
"Of the Old Masters only Michael Angelo surpassed him in giving to abstract thought plastic expression." - page 13Honoré Daumier on the Internet Special Collections
Melton Prior Institute Against Daumier. A Revision of Early French Caricature and Social Graphics. by Alexander RoobBooks and Magazines
A Collection of His Social and Political Caricatures Together with an Introductory Essay on His Art By Elisabeth Luther Cary published by G.P. Putnam's Sons in 1907
Baudelaire and Caricature. From the Comic to an Art of Modernity by Michele Hannoosh published by Penn State Press in 1992
Bulletin of the Museum of Fine Arts. Volumes 1-13 by Museum of Fine Arts, Boston published 1903
Daumier Drawings. Metropolitan Museum of Art, published in 1992
Exposition des peintures et dessins de H. Daumier. Galeries Durand-Ruel By Durand-Ruel et fils (Firm), Champfleur published in Paris by Gauthier-Villars, Imprimeur-Libraire in 1878
Encyclopedia of the Romantic Era. 1760-1850 edited by Christopher John Murray: Daumier, Honoré (Victorin) 1808-1879
Honoré Daumier als Lithograph By Kurt Bertels published by R. Piper & Company in 1908
Honoré Daumier: Appreciations of His Life and Works by Duncan Phillips published in New Your by E.P. Dutton & Company in 1922
Honoré Daumier by Erich Klossowski and Honoré Daumie published in "München by R. Piper & Co. in 1908
Honoré Daumier By Honoré Daumier published by Librarie Félix Juven in 1908
In The History Of The Nineteenth Century In Caricature by Arthur Bartlett Maurice And Frederic Taber Cooper published in London by Grant Richards In 1904 Gutenberg. Google Books
Les cent et un Robert-Macaire By Honoré Daumier and Charles Philipon published by Aubert & Cie, 1840
Picture and text. Honoré Daumier By Henry James published by Harper and brothers, 1893
Promenades of an Impressionist by James Huneker published in New York by Charles Scribner's Sons in 1922
Some masters of lithography by Atherton Curtis published in New York by D. Appleton and Company in 1897
Steeplejack by James Gibbons Huneker published in New York by Charles Scribner's Sons in 1921
The Century Magazine, Volume 39. January 1890, Daumier Caricaturist by Henry James
The Story of French Painting By Charles Henry Caffin published by The Century Company, 1915
High Art. Baudelaire and the Origins of Modernist Painting
The great poet Charles Baudelaire (1821-1867) was also an extremely influential art critic. High Art relates the philosophical issues posed by Baudelaire's art writing to the theory and practice of modernist and postmodernist painting. Baudelaire wrote in an age of transition, David Carrier argues, an era divided by the Revolution of 1848, the historical break that played for him a role now taken within modernism by the political revolts of 1968.. devamı<
Baudelaire’s Aesthetics and Ethics of ExecutionAbstract
“Poésie de charnier et d’abattoir” (Guyaux 147; “Poetry of mass graves and slaughterhouses”). This is the phrase with which Louis Goudall summarized the 18 poems that Baudelaire published under the title Les Fleursdu mal in the Revue des deux mondes in June 1855. That same year, with an essay titled “De l’Essence du rire et généralement du comique dans les arts plastiques” (“On the Essence of Laughter and on the Comic in the Plastic Arts Generally”), the poet took full responsibility for his peculiar thematic and imagistic tastes by declaring that the ugly was also home to beauty: “Chose curieuse et vraiment digne d’attention que l’introduction de cet élément insaisissable du beau jusque dans les œuvres destinées à représenter à l’homme sa propre laideur morale et physique! Et, chose non moins mystérieuse, ce spectacle lamentable excite en lui une hilarité immortelle et incorrigible.” (OC 2: 526; A curious and truly attention worthy thing is the introduction of this unseizable element of the beautiful even in works destined to represent man’s own moral and physical ugliness to himself! And equally peculiar is the immortal and incorrigible hilarity that this lamentable spectacle excites in him!) The complete book of poems published in 1857 under the same title, Les Fleurs du mal. thoroughly illustrates this premise of the necessary relationship between the beautiful and human ugliness and depravity.
une caricature bien appétissante pour nous. quelque farce de boxeurs. pleine de sang caillé (a caricature quite appetizing to us. some boxers’ farce. covered in congealed blood) 1
La tête se détachait du cou, une grosse tête blanche et rouge, et roulait avec bruit devant le trou du souffleur, montrant le disque saignant du cou, la vertèbre scindée, et tous les détails d’une viande de boucherie récemment taillée pour l’étalage. (The head detached itself from the neck, a big white and red head, and it rolled noisily in front of the prompter’s box, showing the bloody disk of the neck, the severed vertebra, and all the details of a piece of butcher’s meat recently cut for the stall.)
—Charles Baudelaire, “De l’essence du rire et généralement du comique dans les arts plastiques”
Je te frapperai sans colère Et sans haine, comme un boucher, [. ]”
(I shall beat you without rage Or hate. As a butcher strikes his block.)
—Charles Baudelaire, “L’Héautontimorouménos”
Baudelaire, Charles. The Flowers of Evil. Eds. Marthiel and Jackson Mathews. New York: New Directions, 1989.
Œuvres complètes. Paris: Gallimard, 1975–76.
“Boucherie.” Grand Dictionnaire universel du XIX e siècle. Ed. Pierre Larousse. 17 vols. Paris: Administration du grand dictionnaire universel, 1866.
De Maistre, Joseph. Œuvres. Ed. Pierre Glaudes. Paris: Robert Laffont, 2007.
Girard, René. La Violence et le sacré. Paris: Hachette, 2006.
Guyaux, André, ed. Baudelaire. Un demi-siècle de lectures des Fleurs du mal (1855– 1905). Paris: Presses de l’Université Paris-Sorbonne, 2007.
Kaplan, Edward. “Baudelairean Ethics.” The Cambridge Companion to Baudelaire. Ed. Rosemary Lloyd. Cambridge: Cambridge UP, 2005. 87–100.
Oehler, Dolf. “Baudelaire’s Politics.” The Cambridge Companion to Baudelaire. Ed. Rosemary Lloyd. Cambridge: Cambridge UP, 2005. 14–30.
Pachet, Pierre. “Baudelaire et le sacrifice.” Poétique: Revue de Théorie et d’Analyse littéraires 20 (1974): 437–51.
Sanyal, Debarati. The Violence of Modernity: Baudelaire, Irony, and the Politics of Form. Baltimore: John Hopkins UP, 2006.
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