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The Art of the July Monarchy: France, 1830 to 1848
“In this watercolor Gavarni portrays an individual whose father was an industrialist and whose older brother was a distinguished professor. From the looks of him, Hippolyte Beauvisage Thomire had a keen eye for fashion in casual clothing, however.
He represents the new generation of bourgeois consumers that emerged during the July Monarchy. He is the modern young man off the newly invented fashion plates and out of the cast of Balzac’s Human Comedy.
Charles Baudelaire, the great cultural critic of Louis Philippe’s reign in latter years, called the artist Gavarni “the poet of official dandysme." Dandysme, Baudelaire said (in his famous essay “De l’heroisme de la vie moderne” [The heroism of modern life], which appeared in his review of the Salon of 1846), was “a modern thing.” By this he meant that it was a way for bourgeois men to use their clothing as a costume in order to stand out from the respectable, black-coated crowd in an age when aristocratic codes were crumbling and democratic values had not yet fully replaced them.
The dandy was not Baudelaire’s “modern hero,” however. “The black suit and the frock coat not only have their political beauty as an expression of general equality,” he wrote, “but also their poetic beauty as an expression of the public mentality.” That is why Baudelaire worshiped ambitious rebels, men who disguised themselves by dressing like everyone else. “For the heroes of the Iliad cannot hold a candle to you, Vautrin, Rastignac, Birotteau [all three were major characters in Balzac’s novels] . . . who did not dare to confess to the public what you went through under the macabre dress coat that all of us wear, or to you Honore de Balzac, the strangest, most romantic, and most poetic among all the characters created by your imagination,” Baudelaire declared.”
Baudelaire
Balzac
Dandyism
The Language of Fashion
“Dandyism […] is not only an ethos (on which much has been written since Baudelaire and Barbey) but also a technique. It is these two together which make a dandy, and it is obviously the latter which guarantees the former, as with all ascetic philosophies (of the Hindu type, for example) in which a physical form of behaviour acts as a route towards the performance of thought […]”
Dandyism
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“The operetta was the product of a world of ‘laissez faire, laissez passer’,
that is, a world of economic, social and moral liberalism, a world in which everyone was able to do what he liked, so long as he abstained from questioning the system itself. This limitation meant, on the one hand, very wide, on the other, very narrow frontiers.
The same government that summoned Flaubert and Baudelaire to a court of law tolerated the most insolent social satire, the most disrespectful ridiculing of the authoritarian régime, the court, the army and the bureaucracy, in the works of Offenbach.
But it tolerated his frolics only because they were not or did not seem to be dangerous, because he confined himself to a public whose loyalty was beyond doubt and needed no other safety-valve, in order to be quite happy, than this apparently harmless banter.
The joke seems mischievous only to us; the contemporary public missed the sinister undertone which we can hear in the frantic rhythm of Offenbach’s galops and cancans. The entertainment was, however, not quite so harmless. The operetta demoralized people, not because it scoffed at everything ‘venerable’, not because its deriding of antiquity, of classical tragedy, of romantic opera was only criticism of society in disguise, but because it shattered the belief in authority without denying it in principle. The immorality of the operetta consisted in the thoughtless tolerance with which it conducted its criticism of the corrupt system of government and the depraved society of the time, in the appearance of harmlessness which it gave to the frivolity of the little prostitutes, the extravagant gallants and the lovable old ‘viveurs’. Its lukewarm, hesitant criticism merely encouraged corruption. One could, however, expect nothing else but an ambiguous attitude from artists who were successful, who loved success more than anything and whose success was bound up with the continuance of this indolent and pleasure-seeking society.”
Success
Morality
Operetta
Offenbach
Nação Crioula
“The other day an entomologist friend of mine told me that for a beehive to produce a kilo of honey it must gather pollen from five million flowers. Thinking of this extraordinary effort I have been wondering how many books Baudelaire had to read, how many lives he had to live, to write a single line of poetry.”
Life
Poetry
Books
Writing
Flowers
Baudelaire
Bees
Honey
Beehive
“It is often difficult to admit that someone you love is not perfect or to consider aspects of a person that are less than admirable. To the Baudelaires it felt almost as if they had drawn a line after their parents died. A secret line in their memories separating all the wonderful things about the Baudelaire parents from the things that were perhaps not quite so wonderful. Since the fire whenever they thought of their parents the Baudelaires never stepped over this secret line preferring to ponder the best moments the family had together rather than any of the times when they had fought, been unfair, or selfish.”
Lemony Snicket
A Series Of Unfortunate Events
The Grim Grotto
The Baudelaires
Lessico famigliare
“S’era messo a leggere Dante. Aveva scoperto che era bellissimo. S’era messo anche a studiare il greco, e a leggere Erodoto, e Omero.
Invece non poteva soffrire Pascoli, né Carducci. Carducci poi lo mandava in bestia. – Era monarchico! – diceva. – Era prima repubblicano, e poi è diventato monarchico, perché s’è innamorato di quella scema della regina Margherita!
– E pensare che è dello stesso tempo di Baudelaire, dello stesso secolo! Leopardi, sí, era un grande poeta. I soli poeti moderni sono Leopardi e Baudelaire! È ridicolo che nelle scuole italiane si studi ancora Carducci!”
Memories
Letteratura
Ricordi
The Grim Grotto
“The water cycle consists of three phenomena – evaporation, precipitation, and collection- which are the three phenomena that make up what is known as “the water cycle.” Evaporation, the first of these phenomena, is the process of water turning into vapor and eventually forming clouds, such as those found in cloudy skies, or on cloudy days, or even cloudy nights. These clouds are formed by a phenomenon known as “evaporation,” which is the first of three phenomena that make up the water cycle. Evaporation, the first of these three, is simply a term for a process by which water turns into vapor and eventually forms clouds. Clouds can be recognized by their appearance, usually on cloudy days or nights, when they can be seen in cloudy skies. The name for the process by which clouds are formed – by water, which turns into vapor and becomes part of the formation known as “clouds” – is “evaporation,” the first phenomenon in the three phenomena that make up the cycle of water, otherwise known as “the water cycle,” and surely you must be asleep by now and so can be spared the horrifying details of the Baudelaires' journey.”
Humour
Repetition
The Water Cycle
The Wide Window
“There are two kinds of fears; rational and irrational - or, in simple terms, fears that make sense and fears that don't. For instance, the Baudelaire orphans have a fear of Count Olaf, which makes perfect sense, because he is an evil man who wants to destroy them. But if they were afraid of lemon meringue pie, this would be an irrational fear, because lemon meringue pie is delicious and has never hurt a soul. Being afraid of a monster under the bed is perfectly rational, because there may in fact be a monster under your bed at any time, ready to eat you all up, but a fear of realtors is an irrational fear. Realtors, as I'm sure you know, are people who assist in the buying and selling of houses. Besides occasionally wearing an ugly yellow coat, the worst a realtor can do to you is show you a house that you find ugly, and so it is completely irrational to be terrified of them.”
Fear
Irrational Fears
6 weeks of white castle /n rust
“i remember el salvador, /n it’s horse shit, like i tell you.
i stopped chasing the messiahs /n madonnas - wised up,
set myself straight.
i’ve laid em /n balled em in every half-way house south of biloxi,
every 10 cent bed west of tulsa, fucked /n slobbered myself stupid on swingsets, greyhounds
/n gas station floors the world over.
i’ve split em in half
from head to ass
in elevator shafts, plus-size fitting rooms,
in the lobbies of sheraton inns
/n kfc parking lots - fucked em everywhere
every way that i could.
someone else can fuck em now.
i’m done w/ el salvador.
i know her militias
her perfume, munitions,
her missing hubcaps /n posters of paris.
i know her goyas, her barricades,
her paintboxes
/n bookshelves
of baudelaire,
her banners, her bullshit /n paris can keep her.”
Poetry
El Salvador
Millennial Poets
The Art of the Novel
“I also think of those daily slaughters along the highways, of that death that is as horrible as it is banal and that bears no resemblance to cancer or AIDS because, as the work not of nature but of man, it is an almost voluntary death. How can it be that such a death fails to dumbfound us, to turn our lives upside down, to incite us to vast reforms? No, it does not dumbfound us, because like Pasenow, we have a poor sense of the real, and in the sur-real sphere of symbols, this death in the guise of a handsome car actually represents life; this smiling death is con-fused with modernity, freedom, adventure, just as Elisabeth was con-fused with the Virgin. This death of a man condemned to capital punishment, though infinitely rarer, much more readily draws our attention, rouses passions: confounded with the image of the executioner, it has a symbolic voltage that is far stronger, far darker and more repellent. Et cetera.
Man is a child wandering lost—to cite Baudelaire`s poem again—in the "forests of symbols."
(The criterion of maturity: the ability to resist symbols. But mankind grows younger all the time.)”
Reality
Death
Childhood
Confusion
Maturity
Real
Baudelaire
Death Penalty
Adolescence
Symbolism
Surreal
Capital Punishment
Infantile
Sign
Signification
Motor Vehicle Accident
“Desde lo alto de nuestra época permisiva, los juicios (verdaderos procesos, en tribunales leales) contra Flaubert, Baudelaire, D.H. Lawrence, parecen irónicos y grotescos como el proceso a Galileo, de lo profundo que nos resulta hoy en día el desnivel entre quienes eran juzgados y quienes los juzgaban: los últimos amarrados a su tiempo, los primeros vivos para todo futuro imaginable”
Juicio
Flaubert's Parrot
“The deaths of writers aren’t special deaths; they just happen to be described deaths. I think of Flaubert lying on his sofa, struck down – who can tell at this distance? – by epilepsy, apoplexy or syphilis, or perhaps some malign axis of the three. Yet Zola called it
une belle mort
– to be crushed like an insect beneath a giant finger. I think of Bouilhet in his final delirium, feverishly composing a new play in his head and declaring that it must be read to Gustave. I think of the slow decline of Jules de Goncourt: first stumbling over his consonants, the c’s turning to t’s in his mouth; then being unable to remember the titles of his own books; then the haggard mask of imbecility (his brother’s phrase) slipping over his face; then the deathbed visions and panics, and all night long the rasping breaths that sounded (his brother’s words again) like a saw cutting through wet wood. I think of Maupassant slowly disintegrating from the same disease, transported in a strait-jacket to the Passy sanatorium of Dr Blanche, who kept the Paris salons entertained with news of his celebrated client; Baudelaire dying just as inexorably, deprived of speech, arguing with Nadar about the existence of God by pointing mutely at the sunset; Rimbaud, his right leg amputated, slowly losing all feeling in the limbs that remained, and repudiating, amputating his own genius –
‘Merde pour la poésie’
; Daudet ‘vaulting from forty-five to sixty-five’, his joints collapsing, able to become bright and witty for an evening by giving himself five morphine injections in a row, tempted by suicide –
But one doesn’t have the right.
”
Death
Suffering
Suicide
Assisted Suicide
Dying With Dignity
Papeles falsos
“Escribir sobre la ciudad de México es una empresa destinada al fracaso. Ignorante de esto, durante mucho tiempo pensé que para escribir sobre el DF debía imitar la tradición: convertirme, a lo Walter Benjamin, en una connaisseuse de las banquetas, botánica de la flora urbana, arqueóloga amateur de las fachadas del centro y los anuncios espectaculares del periférico. He intentado caminar como una petite Baudelaire por Copilco: imposible extraer una sola línea sobre Eje 10. ¿Será culpa de Copilco? Oí a alguien decir alguna vez que Copilco venía del náhuatl 'lugar de las copias'. Tras repetidas caminatas por aquella zona, puedo concluir sin temor a equivocarme que con eso queda dicho lo único que se puede decir sobre esa feísima porción de la ciudad, apéndice enfermizo de la Universidad Nacional Autónoma de México, donde se reproducen masivamente los libros de sus bibliotecas a diez centavos por página. Quizá sea culpa de Copilco.”
Mexico
Mexico City
Ciudad De México
Archivaris van de wereld
“Kahn krijgt kleur op de wangen bij de herinnering. 'Rodin was een heuse Mozartman,' zegt hij. 'Un homme de Mozart,' herhaal ik en we lachen besmuikt. (De bundel van Baudelaire die Kahn me lang geleden heeft geschonken, de verzen heb ik nooit mooi gevonden, wel staan er prachtige tekeningen van Rodin in het boekje. In de dikke knuisten van de Mozartman, gewend aan hamer en beitel, school een fijne tekenhand.)
De muziek is afgelopen, in de verte kraait een haan. Ik zeg: 'We hebben wat te eten nodig.”
Charles Baudelaire
Les Fleurs Du Mal
Albert Kahn
Auguste Rodin
Tekeningen
Salvador Dalí: 1904-1989
“A dandy," wrote Charles Baudelaire, "must be looking in his mirror at all times, waking and sleeping." Dali could easily have become the living proof of Baudelaire's dictum. But the literal mirror was not enough for him. Dali needed mirrors of many kinds: his pictures, his admirers, newspapers and magazines and television. And even that still left him unsatisfied.
So one Christmas he took a walk in the streets of New York carrying a bell. He would ring it whenever he felt people were not paying enough attention to him. "The thought of not being recognised was unbearable." True to himself to the bitter end, he delighted in following Catalonian television's bulletins on his state of health during his last days alive (in Quiron hospital in Barcelona); he wanted to hear people talking about him, and he also wanted to know whether his health would revive or whether he would be dying soon. At the age of six he wanted to be a female cook - he specified the gender. At seven he wanted to be Napoleon. "Ever since, my ambition has been continually on the increase, as has my megalomania: now all I want to be is Salvador Dali. But the closer I get to my goal, the further Salvador Dali drifts away from me."
He painted his first picture in 1910 at the age of six. At ten he discovered Impressionist art, and at fourteen the Pompiers (a 19th century group of academic genre painters, among them Meissonier, Detaille and Moreau). By 1927 he was Dali, and the poet and playwright Federico Garcia Lorca, a friend of his youth, wrote an 'Ode to Salvador Dali.' Years later Dali claimed that Lorca had been very attracted to him and had tride to sodomize him, but had not quite managed it. Dali's thirst for scandal was unquenchable. His parents had named him Salvador "because he was the chosen one who was come to save painting from the" deadly menace of abstract art, academic Surrealism, Dadaism, and any kind of anarchic "ism" whatsoever."
If he had lived during the Renaissance, his genius would have been recognized at an earlier stage and indeed considered normal. But in the twentieth century, which Dali damned as stupid, he was thought provocative, a thorn in the flesh. To this day there are many who misunderstand the provocativeness and label him insane. But Dali repeatedly declared: "... the sole difference between me and a madman is the fact that I am not mad!" Dali also said: "The difference between the Surrealists and me is that I am a Surrealist" - which is perfectly true. And he also claimed: "I have the universal curiosity of Renaissance men, and my mental jaws are constantly at work.”
Megalomania
Dalí
Charles Baudelaire
Dandy
Salvador Dali
Surrealist
Lectures on Russian Literature
“The Russian reader in old cultured Russia was certainly proud of Pushkin and of Gogol, but he was just as proud of Shakespeare or Dante, of Baudelaire or of Edgar Allan Poe, of Flaubert or of Homer, and this was the Russian reader's strength. I have a certain personal interest in the question, for if my fathers had not been good readers, I would hardly be here today, speaking of these matters in this tongue.”
Literature
Russian Culture
Universal Literature
NW
“There had been an attempt over the summer to mix that Camden Lock lot with this Caldwell lot, but Keisha Blake did not especially care for Baudelaire or Bukowski or Nick Drake or Sonic Youth or Joy Division or boys who looked like girls or vice versa or Anne Rice or William Burroughs of Kafka's Metamorphosis or CND or Glastonbury or the Situationists or Breathless or Samuel Beckett or Andy Warhol or a million other Camden things, and when Keisha brought a wondrous Monie Love 7-inch to play on Leah's hi-fi there was something awful in the way Leah blushed and conceded it was probably OK to dance to. They had only Prince left, and he was wearing thin.”
Pop Culture
Camden
What Are You Looking At?: 150 Years of Modern Art in a Nutshell
“We'll be fine’, Pierre-Auguste Renoir said assertively. ‘We are good artist; we know that. Remember what Baudelaire said before he died: "Nothing can be done except little by little." That is what we are doing, it is not big, but it is something!”
Inspiration
Baudelaire
Impressionism
Renoir
The Coral Sea
“And the eye became a body, the murky heart of a rose. The sinister shadow of an orchid. Or the indolent poppy balanced behind the ear of Baudelaire.”
Life
Flower
Artist
“On a Parisienne’s Bookshelf
THERE ARE MANY BOOKS ON A PARISIENNE’S BOOKSHELF:
The books you so often claim you’ve read that you actually believe you have.
The books you read in school from which you remember only the main character’s name.
The art books your parents give you each Christmas so you can get some “culture”.
The art books that you bought yourself and which you really love.
The books that you’ve been promising yourself you’ll read next summer … for the past ten years.
The books you bought only because you liked the title.
The books that you think makes you cool.
The books you read over and over again, and that evolve along with your life.
The books that remind you of someone you loved.
The books you keep for your children, just in case you ever have any.
The books whose first ten pages you’ve read so many times you know them by heart.
The books you own simply because you must and, taken together, form intangible proof that you are well read.
AND THEN THERE ARE THE BOOKS YOU HAVE READ, LOVED, AND WHICH ARE A PART OF YOUR IDENTITY:
The Stranger, Albert Camus
The Elementary Particles, Michel Houellebecq
Belle du Seigneur, Albert Cohen
Bonjour Tristesse, Françoise Sagan
Madame Bovary, Gustave Flaubert
L'Écume des jours, Boris Vian
Lolita, Vladimir Nabokov
Les Fleurs du Mal, Charles Baudelaire
Journey to the End of the Night, Louis-Ferdinand Céline
À la recherche du temps perdu, Marcel Proust
“How to Be Parisian Wherever You Are: Love, Style, and Bad Habits” By Anne Berest, Audrey Diwan, Caroline de Maigret, and Sophie Mas”
Books
Paris
Bookshelves
Parisians
Ogni storia è una storia d'amore
“L'amore comincia sempre come un dolore, perché è la scoperta di un'assenza, come detta il "mi manchi" universale del lessico amoroso. L'amore, presto o tardi, ci porta in un territorio nuovo, ci fa uscire da noi per farci sperimentare la vita vera. È l'unica vera trasgressione dell'uomo, l'unica vera rivoluzione. Baudelaire diceva ironicamente che il solo fastidio dell'amore è che si tratta di un crimine in cui non si può fare a meno di un complice. Per uccidere il proprio egoismo bisogna prima innamorarsi,”
Love
Quotes
Book
Love Stories
Booklovers
The Slippery Slope
“The Baudelaires' journey up the Vertical Flame Diversion was so dark and treacherous that it is not enough to write “The Baudelaires' journey up the Vertical Flame Diversion was so dark and treacherous that it is not enough to write 'The Baudelaires' journey up the Vertical Flame Diversion was so dark and treacherous that it is not enough to write ”The Baudelaires' journey up the Vertical Flame Diversion was so dark and treacherous that it is not enough to write 'The Baudelaires' journey up the Vertical Flame Diversion was so dark and treacherous that it is not enough to write “My dear sister, I am taking a great risk in hiding a letter to you inside one of my books, but I am certain that even the most melancholy and well-read people in the world have found my account of the lives of the three Baudelaire children even more wretched than I had promised, and so this book will stay on the shelves of libraries, utterly ignored, waiting for you to open it and find this message.”
Humour
Repetition
The Alice Network
“I will not tell you one single solitary fact about my work, my friends, or the woman I was arested with. But I will tell you this, Rene Bordelon. You're a gullible fool. You're a terribly lover. And I hate Baudelaire.”
Alice
The Austere Academy
“A morning breeze blew through the campus of Prufrock Preparatory School, rustling the brown lawn and knocking against the stone arch with the motto printed on it.
"Memento Mori"-"Remember you will die." The Baudelaire orphans looked up at the motto and vowed that before they died, they would solve this dark and complicated mystery that cast a shadow over their lives.”
Asoue
The Reptile Room
“When Bruce had used the word "brilliant" about Uncle Monty, he meant "having a reputation for cleverness or intelligence." But when the children used the word—and when they thought of it now, staring at the Reptile Room glowing in the moonlight—it meant more than that. It meant that even in the bleak circumstances of their current situation, even throughout the series of unfortunate events that would happen to them for the rest of their lives, Uncle Monty and his kindness would shine in their memories. Uncle Monty was brilliant, and their time with him was brilliant. Bruce and his men from the Herpetological Society could dismantle Uncle Monty's collection, but nobody could ever dismantle the way the Baudelaires would think of him.”
Asoue
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