Art in Paris, 1845-1862
📘 About This Book
In this volume are assembled all of Baudelaire's important accounts of art-exhibitions held in Paris between 1845 and 1862 : the three Salons, of which we wrote extended reviews; the Exposition Universalle, on which only three of a projected set of articles were written and published, owing to some kind of dispute with his editor - the first of these however contains a major statement of his critical method; a special exhibition held at the Bazar Bonne-Nouvelle in 1846, which gave him the opportunity to expound his views on David and his School; and the article 'Painters and Etchers', of 1862, which includes the only reference to Manet published by Baudelaire, as well as an enthusiastic welcome to Whistler. Taken together with it's companion-volume, The Painter of Modern Life (Phaidon, 1964), Art in Paris 1845-1862 covers the whole of Baudelaire's preoccupation with the visual arts of his time. His greatness as a power has long been acknowledged in this country. His rights to the title of 'first aesthetician of his age', which has often been accorded him, are now available for our consideration.
📖 Summary
Art in Paris, 1845-1862 collects the crucial art criticism written by the celebrated poet Charles Baudelaire during a transformative era in French culture. Published in 1965 and spanning over four hundred pages, this comprehensive volume gathers his definitive accounts of the major art exhibitions held in Paris across nearly two decades. Readers are treated to his extended reviews of the three prominent Salons, where Baudelaire established himself not merely as a passive observer, but as a fierce, passionate arbiter of aesthetic value. Through these pages, the collection charts the evolution of his critical mindset, beginning with his deep engagement with the official art world and moving toward his championing of contemporary vision. The book also preserves his writings on the Exposition Universelle of 1855. Although editorial disputes cut his planned series of articles short, the surviving pieces remain historically vital, containing a major statement of his overarching critical method. Baudelaire believed that true art criticism should not be cold, mathematical, or impartial; rather, it should be partial, passionate, and political, written from an exclusive point of view that opens up the greatest number of horizons. Alongside the Salons and the Exposition Universelle, the volume features specialized critiques, such as his review of an exhibition held at the Bazar Bonne-Nouvelle in 1846. This specific piece gave the author a prime opportunity to expound upon his views regarding Jacques-Louis David and his influential school of painting, contrasting historical academic traditions with the shifting modern sensibilities of his own day. Toward the end of the chronological span covered in the book, the collection features his 1862 article entitled Painters and Etchers. This late piece holds special significance for art historians and literature enthusiasts alike, as it includes the sole published reference by Baudelaire to Édouard Manet, alongside a remarkably enthusiastic welcome to the work of James Abbott McNeill Whistler. Together with its companion volume, The Painter of Modern Life, this collection cements Baudelaire's legacy as a foundational figure in modern art theory. By looking closely at how he evaluated the paintings, prints, and exhibitions of mid-nineteenth-century France, readers gain profound insight into the birth of modernism and the ways in which literature and visual art intersect to define the spirit of an age.
🎯 Key Lessons
⚖️ Pros & Cons
✅ Pros
Gathers all of Baudelaire's important art exhibition accounts in one comprehensive volume.
Provides deep insight into the mind of a legendary poet turned art critic.
Includes historical commentary on major artists like David, Whistler, and Manet.
Offers clear articulation of nineteenth-century French aesthetic theory and criticism.
⚠️ Cons
The articles on the Exposition Universelle were cut short due to editor disputes, leaving the set incomplete.
The prose and references assume a strong baseline familiarity with nineteenth-century French art history.
✍️ About the Author
❓ FAQ
What time period does Art in Paris, 1845-1862 cover? +
The book covers art exhibitions held in Paris between the years 1845 and 1862.
What major exhibitions are reviewed in this volume? +
It includes extended reviews of the three Parisian Salons, the Exposition Universelle of 1855, and a special exhibition at the Bazar Bonne-Nouvelle.
Does the book contain any writings on Édouard Manet? +
Yes, the 1862 article Painters and Etchers includes the only published reference to Manet written by Baudelaire.
How does Baudelaire define his approach to art criticism? +
He outlines his critical method in the first article of his writings on the Exposition Universelle, advocating for a passionate and partial viewpoint.
Is there a companion volume to this book? +
Yes, this work is complemented by its companion volume, The Painter of Modern Life.
