i Baudelaire and the Art of Memory BAMPR 4/23/99, 7:26 PM This page intentionally left blank iii Baudelaire and the Art of Memory J A Hiddleston CLARENDON PRESS · OXFORD BAMPR 4/23/99, 7:26 PM iv Great Clarendon Street, Oxford Oxford University Press is a department of the University of Oxford It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © J A Hiddleston The moral rights of the author have been asserted Database right Oxford University Press (maker) 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BAMPR 4/23/99, 7:26 PM This page intentionally left blank vii Preface A study of Baudelaire’s art criticism would be a vast and highly complex undertaking His aesthetic ideas, his relationship with Delacroix, his theories on laughter and caricature, his understanding of Guys and choice of him as the painter of modern life, even his silences (about Courbet and Manet, for example), his rhetoric and critical method, would each require a separate volume, as the works of Horner, Moss, Hannoosh, and Kelley’s edition of the Salon de all eloquently demonstrate In order to treat the subject in one volume, I have had accordingly to condense discussion of each of these principal aspects to a single chapter ‘In Search of an Aesthetic’ seeks to analyse Baudelaire’s ideas on the function of criticism, on naïveté and individualism, Romanticism, colourists and draughtsmen, memory, imagination, and his attitude towards individual painters such as Ingres and Courbet The emphasis is principally on the Salon de , the most seminal and controversial of his art-critical works, though I have tried at the same time to highlight the evolution of his thinking through the Exposition universelle of to the Salon de This first chapter is closely linked to the last one, ‘Language and Rhetoric’, in which, after a survey of his principal stylistic devices, the notorious dédicace ‘Aux Bourgeois’, the chapter ‘Des écoles et des ouvriers’, the notion of progress, and the contention that the Salon constitutes a summum of Baudelaire’s aesthetic, social, and political thinking, are analysed in terms of his rhetorical strategy I argue that commentators have been too ready to read into some of his pronouncements of the mid-s a political or social message, without taking sufficiently into account the specific context in which they are embedded and their function in the overall economy of the argument The Baudelaire of is clearly another matter In the chapter on Delacroix, where I have concentrated on a relatively small number of key paintings (La Madeleine dans le désert, La Mort de Sardanapale, La Lutte de Jacob avec l’ange, Pietà, Les Femmes d’Alger, and Ovide chez les Scythes), and in Chapter , on caricature, I have tried above all to bring out the nature of his response, which is almost always very brief, and to develop in a ‘Baudelairean’ manner BAMPR 4/23/99, 7:26 PM viii the suggestive quality of the works he admires Wherever relevant, I have sought also to indicate the relationship of the art criticism to his other writings, in particular Les Fleurs du Mal and Le Spleen de Paris In Chapter , a close analysis of his theory of laughter, I have tried to identify and tease out some of the contradictions in the argument, in which the doctrine of the Fall seems to sit badly with the joy which, as in Hoffmann, is said to characterize ‘le comique absolu’ In Chapter , ‘From Landscape to the Painting of Modern Life’, Boudin is seen as a pivotal figure, inflecting the poet towards an aesthetic of the fleeting and the evanescent, which is eventually spelled out in Le Peintre de la vie moderne and exemplified in the works of Constantin Guys Here again, as with Delacroix and caricature, I have concentrated on Guys’s drawings and the sections of the essay in which their presence is most palpable This has involved accentuating ‘Les Annales de la guerre’, ‘Pompes et solennités’, ‘Le Militaire’, and ‘Les Femmes et les filles’ at the expense of the chapters on ‘Le Dandy’ and make-up, which in any case have been the subject of much critical attention Finally, Baudelaire’s silence about Manet, whom he knew well and whose work has many parallels with that of the poet, seems such an important gap in the art criticism as to merit a separate chapter Here, I argue that his silence and implied disapproval can be explained by what the poet, who believed in the inviolable specificity of art forms, must have identifed in Manet as a mismatch between medium (the oil on canvas) and an ironic or ‘agnostic’ content I have called this study Baudelaire and the Art of Memory because the idea that art, whether it is painting, poetry, or for that matter music, springs from the memory of the artist and speaks to the memory of the consumer of that art, is a fundamental truth which the poet emphasizes in relation to Delacroix, Daumier, Guys, and Wagner, and which is exemplified in his own creative writing It is a fundamental tenet of his aesthetic that criticism is primarily a phenomenon of recognition; and it is that sense of recognition that I have sought to elucidate and develop throughout The secondary literature is so vast that for obvious reasons of space I have been constrained to limit the bibliography to the major contributors and to the works directly cited or crucial to the argument Many ‘canonical’ studies and articles receive little or no mention I trust that their omission will not be seen as laxity or arrogance; their presence is embedded in the text, and the work of Gilman, Ferran, Ruff, Sérullaz, and Moss, to name but a few, have made such a BAMPR 4/23/99, 7:26 PM ix contribution that their ideas have become integrated into the corpus of acquired knowledge In this subject, possibly more than in some others, we build upon the acquired knowledge of earlier generations For all that, this study is aimed as much at the undergraduate as at the specialist reader I am grateful to the editors of The Modern Language Review, Etudes baudelairiennes, and Romantisme, for permission to use material previously published in articles on Baudelaire and Manet, Baudelaire and Guys, Baudelaire and Delacroix, and Baudelaire and caricature My sincere thanks are also due to the Librarians of the Taylor Institution, the Ashmolean Museum, the Department of the History of Art at Oxford, to the Curators of the Musée Carnavalet and the Musée des Arts Décoratifs in Paris, to Monsieur Jérôme Dufilho for his evercourteous help with reproductions of Guys, and to Bernard 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Delacroix devant ses contemporains (Paris: Jules Rouam, ) T, F A., The Attainment of Delacroix (Baltimore and London: Johns Hopkins University Press, ) V, A , Oeuvres complètes, vols (Paris: Gallimard, ) V, J , La Légende dorée, ed Teodor de Wyzewa (Paris: Perrin et Cie, ) W, B, and S, D H T., Baudelaire: ‘La Fanfarlo’ and ‘Le Spleen de Paris’ (London: Grant and Cutler, ) W, R, The Origins of French Art Criticism (Oxford: Clarendon Press, ) Z, E, Ecrits sur l’art (Paris: Gallimard, ) BAMBIB 296 4/26/99, 12:15 PM Index About, Edmond Alexandre, Arsène n Alfieri, Vittorio Aligny, Théodore allegory – Ancelle, Narcisse n Apollinaire, Guillaume Ariosto, Ludovico Asselineau, Charles n , , n Astruc, Zacharie n , St Augustine Aupick, General Bachelard, Gaston Bakhtin, Mikhail , , n Balzac, Honoré de , , , , , , , , n , , , , , , , , , , , , Banville, Théodore de , Bard, Jean-Auguste , Baron, Henri n Barrès, Maurice Barthes, Roland n Bassano, Jacopo da Ponte B, C: ‘A celle qui est trop gaie’ , n ‘L’Amour du mensonge’ n ‘Any where out of the world’ ‘Assommons les pauvres!’ ‘Aube spirituelle’ ‘Au lecteur’ n , , ‘A une madone’ n ‘A une passante’ – ‘Aux bourgeois’ , –, ‘Les Aveugles’ ‘Le Balcon’ , ‘La Béatrice’ , , ‘Bénédiction’ ‘Les Bijoux’ , – ‘Bohémiens en voyage’ ‘Les Bons Chiens’ ‘Brumes et pluies’ n ‘Chacun sa chimère’ n , , ‘La Chambre double’ BAMIndex 297 ‘La Chevelure’ , –, , ‘Confession’ n ‘Le Confiteor de l’artiste’ ‘La Corde’ , – ‘Correspondances’ , , ‘Le Coucher du soleil romantique’ ‘Le Crépuscule du matin’ , , ‘Le Crépuscule du soir’ , , ‘Le Cygne’ , , , , , , , ‘Danse macabre’ , , , ‘Déjà!’ ‘Don Juan aux enfers’ , ‘Duellum’ , n , –, ‘Elévation’ n , , , ‘Enivrez-vous’ n ‘Epilogue’ ‘La Fausse Monnaie’ ‘Femmes damnées’ n , ‘Les Fenêtres’ , , , , ‘Le Fou et la Vénus’ ‘Les Foules’ , n , , ‘Le Galant Tireur’ n , n , n., ‘Le Gâteau’ , , ‘Le Guignon’ ‘Harmonie du soir’ , ‘Horreur sympathique’ ‘Hymne la Beauté’ , ‘L’Idéal’ , , ‘L’Invitation au voyage’ , ‘L’Irrémédiable’ n , , ‘L’Irréparable’ , ‘J’aime le souvenir ’ ‘Je t’adore l’égal de la voûte nocturne’ ‘Le Jeu’ , , ‘Laquelle est la vraie?’ n ‘Lola de Valence’ ‘La Lune offensée’ ‘Mademoiselle Bistouri’ , n , , ‘Le Masque’ , ‘Le Mauvais Vitrier’ n., ‘Le Miroir’ , 4/26/99, 12:15 PM B, C (Cont.): ‘Mœsta et errabunda’ , ‘La Muse malade’ ‘La Muse vénale’ ‘Obsession’ ‘Les Phares’ , , n , , n ‘Les Plaintes d’un Icare’ ‘Le Poison’ ‘Le Port’ ‘Portraits de mtresses’ ‘Les Projets’ ‘Les Promesses d’un visage’ n ‘Le Rebelle’ n ‘Recueillement’ ‘Le Reniement de St Pierre’ , ‘Le Rêve d’un curieux’ ‘Réversibilité’ n ‘Les Sept Vieillards’ , , ‘Sépulture’ ‘Spleen’ , n , ‘Sur Le Tasse en prison d’Eugène Delacroix’ ‘Tableaux parisiens’ , , , , , , , , , , , ‘Les Tentations’ , , ‘Le Tir et le cimetière’ ‘Une charogne’ ‘Une martyre’ , ‘Une mort héroïque’ , – ‘Un plaisant’ n , ‘Vers pour le portrait de M Honoré Daumier’ n ‘Les Veuves’ , , ‘La Vie antérieure’ ‘Le Vieux Saltimbanque’ ‘Le Vin de l’assassin’ ‘Le Vin des chiffonniers’ ‘Les Vocations’ ‘Le Voyage’ ‘Les Yeux des pauvres’ Baudry, Paul n Beauvoir, Roger de Becq, Annie Benjamin, Walter n , n Béranger, Charles Béranger, Pierre-Jean , , Bergson, Henri Berlioz, Hector Bernardin de Saint-Pierre, Henri , , , , Bidermann, Jacob n BAMIndex 298 Bigand, Auguste , , Blanc, Charles Blanchot, Maurice n Boissard, Fernand Bonaventura, , Bonington, Richard Parkes , , , , , Bossuet, Jacques-Bénigne , , n , Boucher, Franỗois Boudin, Eugốne n , n , , , –, , Boulanger, Louis Bourdaloue, Louis , , n Bourget, Paul Bowness, Alan Breton, André , , , Brueghel, Peter the elder , , – Brombert, Victor , n Brunier, Charles n Buisson, Jules Burton, Richard D E , Burty, Philippe , , n Byron, Lord , , , , , n , , , Cabat, Louis Cachin, Franỗoise Cahen, Gustave , n Cailleux, L n Calame, Alexandre Callias, Hector de Callot, Jacques , , , Camus, Albert n Castex, Pierre-Georges n , n Catlin, George , , , Cellier, Léon n Chambers, Ross , n Champaigne, Philippe de Champfleury, [ Jules Husson] n , , , n , n , n , , , Chardin, Jean-Baptiste Charlet, Nicolas , –, , , , Chassériau, Thộodore Chateaubriand, Franỗois-Renộ de , , , , , , , , , Chenavard, Paul , Chénier, André Chennevières, Philippe de , , , , Chevandier, Paul 4/26/99, 12:15 PM Chevreul, Michel-Eugène , le chic – Chomsky, Noam Christophe, Ernest , Clapton, George Clark, Timothy n , , Claude, [Claude Gellộe] Coblence, Franỗoise n Cogniat, Raymond n Cogniet, Léon colour – Comộdie franỗaise , , Constant, Benjamin , n Corneille, Pierre Cornélius, Pierre de Corot, Camille , , –, n , , , Courbet, Gustave –, , , , , , n , , n Couture, Thomas , Crépet, Jacques n , , n Cruikshank, George , , –, , Daguerre de Hureaux, Alain n , n , , n , n Daix, Pierre , Dante Alighieri , , , , , , , Darcis, Louis Daubigny, Charles-Franỗois Daumier, Honoré , , , , , –, , n , , , , , , , , , , , , n , David, Louis , , , , , , , – , , n , Debucourt, Philibert-Louis Decamps, Alexandre-Gabriel , , Delacroix, Eugène Ch , passim, , , , , , , , , , , , , , , , , , , , , , , , , , , n , , , , , , , , , , n L’Assassinat de l’évèque de Liège , , Les Adieux de Roméo et Juliette , , , Annonciation L’Archange saint Michel terrassant le démon BAMIndex 299 La Barque de Dante , , , , , , n , , La Bataille de Taillebourg Boissy d’Anglas saluant la tête du député Féraud n , La Chasse au tigre n La Chasse aux lions Le Christ au jardin des oliviers , , , –, Le Christ sur le lac de Génézareth , Les Convulsionnaires de Tanger , Correspondance générale n , n Dernières Paroles de l’empereur MarcAurèle , , L’Enlèvement de Rébecca , , , L’Entrée des croisés Constantinople – , , L’Exécution du doge Marino Faliero La Femme aux bas blancs n , Femme caressant un perroquet Les Femmes d’Alger , , –, , , , , Hamlet , , , , , Héliodore chassé du temple – Herminie chez les bergers n Journal , , , , n , , , n , , n , , n., n , , n Lady Macbeth somnambule n La Liberté guidant le peuple Le Lever La Lutte de Jacob avec l’ange , , –, Luxembourg ceiling , , , , , –, La Madeleine dans le désert n , – , La Madeleine avec un ange Médée furieuse n , , , , La Mise au tombeau , n , – La Montée au calvaire La Mort de Sardanapale , , , , –, , , , , , Nature morte aux homards Le Naufrage de Don Juan Les Naufragés Noce juive au Maroc Odalisque allongée sur un divan , Othello et Desdémone Ovide chez les Scythes n , , , –, , , , , , , 4/26/99, 12:16 PM Delacroix, Eugène (Cont.): Pietà , , n , –, , , n , La Résurrection de Lazare Saint Sébastien secouru par les saintes femmes , , Scènes des massacres de Scio , , , Une Sibylle qui montre le rameau d’or , n Le Sultan du Maroc , , , Delaroche, Paul Delâtre, Auguste , Delécluze, Etienne-Jean , Delteil, Loys n , n Desbordes-Valmore, Marceline Descartes, René , Desgoffe, Alexandre Desnoyers, Fernand n Destouches, Philippe Devéria, Achille , , , Devéria, Eugène , , Diadorus of Sicily , , Diáz de la Peủa, Narcisse-Virgile , Diday, Franỗois Diderot, Denis , , n., , , , n., n., , , Dostoevsky, Fyodor n Drost, Wolfgang n Dubray, Jean-Paul, n Duflo, Pierre n –, n , n , n –, n –, n Dumas, Alexandre , , Dumur, Guy Duranty, Edmond ébauche , , , , , Ecclesiasticus , école(s) –, , – El Greco Emerson, Ralph Waldo Les Enfants du Paradis n Escholier, Robert Etex, Antoine Fairlie, Alison Fantin-Latour, Henri Farwell, Beatrice Faunce, Sarah n , n Fénelon, Franỗois de Salignac de la Mothe- , , Fộval, Paul Flandrin, Paul BAMIndex 300 Flaubert, Gustave –, , , , , , , , , , , Flers, Camille Fleury, Robert Fontenelle, Bernard Le Bovier de Fourier, Charles , , , , n., , , , Fragonard, Jean-Honoré , , Franỗais, Franỗois-Louis Frộmiet, Emmanuel Freud, Sigmund , n Fried, Michael Fromentin, Eugène n , Gambetta, Léon Gautier, Armand – Gautier, Théophile , , n , , n , , , , , , , , n , Gavarni, [Sulpice-Guillaume Chevalier] , , , –, , , Geffroy, Edmond Genesis , , n Geoffroy, Charles Geoffroy, Gustave n Gộrard, Franỗois Gộricault, Thộodore , , , n Gérome, Jean-Léon n gesture –, Giacometti, Alberto Gide, André , n Girodet, Anne-Louis , , , Glaize, Auguste-Barthélemy Gleyre, Charles , , Goethe, Johann Wolfgang von , Goncourt, Edmond and Jules de , Goya, Francisco de , , , , , –, , Grandville, [ Jean-Ignace-Isodore Gérard] , , , –, , , , Granet, Franỗois-Marius Grappe, Georges Greeks and Romans , , , , Greuze, Jean-Baptiste Grillparzer, Franz Gros, Antoine-Jean n , , n Guérain, Guérin, Pierre , , , , Guys, Constantin , , , , , –, –, , , , , , , 4/26/99, 12:16 PM Haffner, Félix , Hambly, Peter n Hamilton, George H n Hamilton, Vivien n , n , , n Hamlet character and play , , –, , , Hannoosh, Michele , , n , n , n , , , n , , , n., n., n., Hardy, Thomas Haussard, Prosper Haussmann, Georges Haussoullier, William , n , n., , Hegel, Friedrich Heine, Heinrich , , Hemmings, F W J Herding, Klaus n Héroult, Antoine-Desiré Hesse, Auguste , n Hiddleston, J A n , n , n , n , n , n , n., n Hobbes, Thomas , Hoffmann E.T.A , , , , – , , , , Hofmann, Werner n Hogarth, William , –, Homer , Horace Hornung, Joseph Houssaye, Edouard n Howells, Bernard n , n , n Huet, Paul , , Hugo, Charles n Hugo, Victor , , , , , , , , , –, n , , , , , , , n , , Hume, David Huysmans, Joris-Karl n Hyslop, Lois Boe n , imagination , – Ingres, Jean-Auguste-Dominique , , –, –, , , , , , , , , , , Isabey, Eugène , , Jacque, Charles , Jadin, Louis-Godefroy n Johnson, Lee n , n , , n , BAMIndex 301 n , , , , n , , n , n , nn + –, n , , n , n , n Johnson, Samuel Jongkind, Johann Barthold n Joubert, Laurent Jung, Carl Gustav Junot, Philippe n Kant, Emmanuel , Kelley, David , , , , , , n , , n , , , , Kiörböe, Carl Fredrik Knyff, Gilbert de n Köhler, Ingeborg , Konody, P G n Kopp, Robert Labrusse, René n La Bruyère, Jean de , –, Laclos, Choderlos de La Fontaine, Jean de , La Rochefoucauld, Franỗois duc de La Rochefoucauld, Sosthốnes de Laforgue, Jules , , , n , Lamartine, Alphonse de Lamennais, Félicité de n , n Lami, Eugène Lassalle-Bordes, Gustave Lautréamont [Isodore Ducasse] Lavater, Johann Caspar , , , , , Laverdant, Désiré , Leakey, F W n., , , , n., Lebrun, Charles , , n , , Lécurieux, Jacques-Joseph Legros, Alphonse , – Lehmann, Henri , Leleux, Adolphe and Armand Lemtre, Frédéric n , , , Lemoine, Pascale n Lộpaule, Franỗois-Gabriel Leroux, Pierre , Lesueur, Eustache Leys, Henri Liès, Joseph Lloyd, Rosemary n , , , , Locke, John Louis-Philippe, king , , 4/26/99, 12:16 PM Numa, [Pierre Numa Bassaget] Luke Lyon , Maccabees Macready, William , McWilliam, Neil n., n Maigron, Louis n Maistre, Joseph de , , n , , , , Maistre, Xavier de Malassis, Auguste , Mallarmé, Stéphane Malraux, André , n , Man, Paul de , Manet, Edouard , , Manœuvre, Laurent n , n., Manzoni, Ignazio Marivaux, Pierre Carlet de Chamblain de Matisse, Henri Matout, Louis Maturin, Charles , , , , , , Maurin, Nicolas-Eustache Mauron, Charles n , May, Gita Mayne, Jonathan n., n , n , n , n Meissonier, Ernest , , memory –, –, , , Ménard, Louis Meryon, Charles –, Metella, Cecilia Michelangelo , , , , Millet, Jean-Franỗois , n Moffett, Charles , Molière, [ Jean-Baptiste Poquelin] , , , , , , Monnier, Henri –, Montesquieu, Charles de Secondat Moreau-Nélaton, Etienne, n Mozart, Wolfgang Amadeus Mras, George , Murillo, Bartolomé Estaban , , Musset, Alfred de , naïveté –, , , , , , , Nerval, Gérard de , , , , , Neyt, Charles Nochlin, Linda n , n Noël, Jules n Noon, Patrick n BAMIndex 302 Orpheus Ossian Ovid , –, , , , Papety, Dominique , , n , Pascal, Blaise , , , n , , , , , , Patty, James , Penguilly, Octave , , Pensotti, Céleste Perruchot, Henri , Philemon n Philipon, Charles , philosophic art – Picasso, Pablo Pichois, Claude n , n , , n , , n., n , n , n , , n., , , , , n , n , Picon, Gaëtan Pierret, Jean-Baptiste n Pigal, Edme-Jean Pinelli, Bartolomeo , , – Planche, Gustave n , , Planet, Louis de , n , Poe, Edgar Allan , , , , , , , , , , , Poinsinet de Sivry, Louis n , , les pointus , Poterlet, Hippolyte Poulet, Georges – Poussin, Nicolas , , Prarond, Ernest n Praz, Mario Prévert, Jacques n Prévost, Jean n , n , , n., n progress – Proust, Antonin n , , n Proust, Marcel , , , , , Prud’hon, Pierre Quatremère de Quincy, Antoine Chrysostome Quintilian , Quintus Curtius n , n Rabelais, Franỗois n , , , , , Racine, Jean , , , , 4/26/99, 12:16 PM Raphael, [Raffaello Sanzio] , , , , , n., , n., n , , Raser, Timothy n Rebeyrol, Philippe Rembrandt, , , , , , , , , Rethel, Alfred Rey, Robert n Richter, Jean-Paul , , Rimbaud, Arthur , , Robespierre, Maximilien de Roger-Marx, Claude , n Romanticism – Ronsard, Pierre de Rossini, Gioacchino Rousseau, Jean-Jacques , , , n Rousseau, Théodore , , n , Rouvière, Philibert , , – Roy, Denis-Prudent n , , n Rubens, Peter Paul n , , , , , n , , , Rubin, James H., n Ruff, Marcel A n sacerdoce , n., Sade, Donatien marquis de Saint-Aubin, Gabriel de – Saint-Jean, Simon , Saint-Simon, Claude-Henri comte de – Saint-Victor, Paul Bins de, n Sainte-Beuve, Charles-Augustin n , , , n Sand, George , Sartre, Jean-Paul Satire Ménippée Schanne, Alaxandre , Scheffer, Ary , , –, , , , , , n , , , , , , , , Schlegel, Friedrich , Schneiderman, Richard E., n –, nn & Scott, David H T Scott, Walter , Scudo, Pierre n , , , , n Seymour, Robert , – Shakespeare, William , , , , , , , , n , , , n , BAMIndex 303 Slyke, Gretchen van Solkin, David Solomon , Solomon-Godeau, Abigail n specificity of art forms –, Spector, Jack n , , Staël, Madame de , Starobinski, Jean , Statius Stendhal [Henri Beyle] , n., n , , , , , n , Stenzel, Hartmut Sterne, Laurence Sue, Eugène suicide , , –, n Tabarant, Adolphe, Tassaert, Octave , , –, Tasso, Torquato Tertullian n Thiis, Jens n Thoré-Bürger, Théophile , Titian [Tiziano Vecellio] , , , Tourneux, Maurice n Trapp, Frank A., n Traviès, Charles-Joseph de Villers , , –, Trimolet, Joseph-Louis –, Troyon, Constant , , , Unamuno, Miguel de Velásquez, Diego n , , , , n Vernet, Carle , , Vernet, Horace , –, , , , , , , , , , , –, , Veronese [Paolo Caliari] n , , , n , , , Vidal, Vincent Vigny, Alfred de , , , , , Villehardouin, Geoffroi de Villon, Franỗois Vinci, Leonardo da Virgil , , Vitet, Louis n , n Voltaire, [Franỗois-Marie Arouet] , , , , Voragine, Jacques de n Wagner, Richard , , , n , , , 4/26/99, 12:16 PM Watteau, Francois , , , Wattier, Charles-Émile Weber, Carl Maria von , , , , , BAMIndex 304 Winckelmann, Johann Joachim , Wright, Barbara n Zola, Emile , – 4/26/99, 12:16 PM ... study Baudelaire and the Art of Memory because the idea that art, whether it is painting, poetry, or for that matter music, springs from the memory of the artist and speaks to the memory of the. .. in articles on Baudelaire and Manet, Baudelaire and Guys, Baudelaire and Delacroix, and Baudelaire and caricature My sincere thanks are also due to the Librarians of the Taylor Institution, the. .. enigmatic and suggestive formulation; they will also recognize in it the origin of his aesthetic of the verse and prose poem Baudelaire s taste for short poems and stories and his distrust of the epic