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High art : Charles Baudelaire and the origins of modernist painting

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High art : Charles Baudelaire and the origins of modernist painting / David Carrier.

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Status	Format	Access	Call number	Item location
Status Request for on-site use Request scan How do I pick up this item and when will it be ready?	FormatText	AccessUse in library	Call numberND192.M63 C37 1996	Item locationOff-site

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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. Moving from the grand tradition of Delacroix to the images of modern life made by Constantin Guys, this movement from "high" to "low," from the unified world of correspondances to the fragmented images of contemporary city life, motivates Baudelaire's equivalent to the post-1968 turn away from formalist art criticism. Viewed from the perspective of the 1990s, Carrier argues, the issues raised by Baudelaire's criticism and creative writing provide a way of understanding the situation of art writing in our own time.

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Introduction: Baudelaire's Metaphysics -- 1. The Style of the Argument in Baudelaire's Salon de 1846 -- 2. Baudelaire's "L'Oeuvre et la vie de Delacroix": Symbolist Painting in an Age of Mechanical Reproduction -- 3. Baudelaire's Philosophical Theory of Beauty -- 4. Moving Pictures -- 5. Les Paradis artificiels and the Origins of Modernism -- 6. "You, too, are in Arcadia": Matisse's Shchukin Triptych -- Conclusion: Handling Transitions.

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