Painted Poetry: Colour in Baudelaire’s Art Criticism (Modern French Identities)

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9783039110940: Painted Poetry: Colour in Baudelaire’s Art Criticism (Modern French Identities)

Before becoming a poet, Charles Baudelaire was an art critic; and he made his literary début with the Salon de 1845. Its failure to find a receptive audience led him to write the groundbreaking Salon de 1846 with its pivotal chapter on colour, in which Baudelaire challenged fundamental critical concepts of art by insisting on colour’s complexity, expressivity and modernity. Through a close reading of his critical essays on art, this book examines how Baudelaire’s thoughts on colour developed throughout his life and sets them in the context of traditional views of colour. What effect did the new scientific theories of colour harmony, filtered through his conversations with Delacroix and other artists, have on Baudelaire? Why did he see Daumier as a colourist, but not Ingres? What made him turn his back on French art in 1859 and which artist changed his mind? Baudelaire’s interest in a highly personal form of colour symbolism is investigated, as well as the part that colour plays in developing his later, central idea of a creative and poetic imagination capable of translating all the arts.

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About the Author:

Ann Kennedy Smith is a graduate of Trinity College Dublin and wrote her doctoral thesis on Baudelaire’s art criticism at the University of Cambridge. She lives in Cambridge and works as a freelance editor and tutor for the Institute of Continuing Education at the University of Cambridge and the Workers’ Educational Association.

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Book Description Peter Lang AG, Internationaler Verlag der Wissenschaften, 2011. Book Condition: New. What effect did the new scientific theories of colour harmony, filtered through his conversations with Delacroix and other artists, have on Baudelaire? Why did he see Daumier as a colourist, but not Ingres? What made him turn his back on French art in 1859 and which artist changed his mind? This book deals with these questions. Series: Modern French Identities. Num Pages: 241 pages. BIC Classification: AB; AFC; CB; DSBF. Category: (P) Professional & Vocational. Dimension: 152 x 226 x 16. Weight in Grams: 376. . 2011. 1st New edition. Paperback. . . . . . Bookseller Inventory # V9783039110940

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Book Description Peter Lang AG, Internationaler Verlag der Wissenschaften. Book Condition: New. What effect did the new scientific theories of colour harmony, filtered through his conversations with Delacroix and other artists, have on Baudelaire? Why did he see Daumier as a colourist, but not Ingres? What made him turn his back on French art in 1859 and which artist changed his mind? This book deals with these questions. Series: Modern French Identities. Num Pages: 241 pages. BIC Classification: AB; AFC; CB; DSBF. Category: (P) Professional & Vocational. Dimension: 152 x 226 x 16. Weight in Grams: 376. . 2011. 1st New edition. Paperback. . . . . Books ship from the US and Ireland. Bookseller Inventory # V9783039110940

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Book Description Paperback. Book Condition: New. Not Signed; Before becoming a poet, Charles Baudelaire was an art critic; and he made his literary debut with the Salon de 1845. Its failure to find a receptive audience led him to write the groundbreaking Salon de 1846 with its pivotal chapter on colour, in which Baudelaire challenged fundamental critical conc. book. Bookseller Inventory # ria9783039110940_rkm

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Book Description Oxford, 2011. xii, 241 pp., 2011. Book Condition: New. Before becoming a poet, Charles Baudelaire was an art critic; and he made his literary début with the Salon de 1845. Its failure to find a receptive audience led him to write the groundbreaking Salon de 1846 with its pivotal chapter on colour, in which Baudelaire challenged fundamental critical concepts of art by insisting on colour?s complexity, expressivity and modernity. Through a close reading of his critical essays on art, this book examines how Baudelaire?s thoughts on colour developed throughout his life and sets them in the context of traditional views of colour. What effect did the new scientific theories of colour harmony, filtered through his conversations with Delacroix and other artists, have on Baudelaire? Why did he see Daumier as a colourist, but not Ingres? What made him turn his back on French art in 1859 and which artist changed his mind? Baudelaire?s interest in a highly personal form of colour symbolism is investigated, as well as the part that colour plays in developing his later, central idea of a creative and poetic imagination capable of translating all the arts. Bookseller Inventory # 11094

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