Poet, aesthete and hedonist, Baudelaire was also one of the most groundbreaking art critics of his time. Here he explores beauty, fashion, dandyism, the purpose of art and the role of the artist, and describes the painter who, for him, expresses most fully the drama of modern life. GREAT IDEAS. Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are.
While Baudelaire's 'Le Peintre de la vie moderne' is often cited as the first expression of our theory of modernism, his choice of Constantin Guys as that painter has caused consternation from the moment of the essay's publication in 1863. Worse still, in his 'Salon de 1859', Baudelaire had also chosen to condemn photography in terms that echo to this day. Why did the excellent critic choose a mere reporter and illustrator as the painter of modern life? How could he have overlooked photography as the painting of modern life? In this study of modernity and photography in Baudelaire's writing, Timothy Raser, who has written on the art criticism of Baudelaire, Proust, Claudel and Sartre, shows how these two aberrations of critical judgment are related, and how they underlie current discussions of both photography and modernism. Timothy Raser is Professor of French at the University of Georgia (USA).
Timely and original, this collection of essays from the leading figures in their fields throws new and valuable light on the significance and future of flanerie. The Flaneur is the first book to develop the debate beyond Baudelaire and Benjamin, and to push it in unexpected and exciting directions.
"In this book Benjamin reveals Baudelaire as a social poet of the very first rank. More than a series of studies of Baudelaire, these essays show the extent to which Benjamin identifies with the poet and enable him to explore his own notion of heroism."--BOOK JACKET.
A history of architecture driven by the ideas behind the buildings defining architectural styles from the Greeks to the present with an intellectual flair. The 15 contributing historians and architects develop the political themes of Versailles, the power and glory of medieval architecture, the industrial revolution and Hegelian philosophy in relation to modern architecture, and specific studies of Frank Lloyd Wright, Aldo Rossi, and Rob Krier. Avoiding the encyclopedic approach, the volume excavates deeper into the foundations of architectural history. Annotation copyright by Book News, Inc., Portland, OR
Georg Heym (1887-1912) rebelled against his conservative background--his father was a Prussian, legal official--and was an explosive presence in Berlin bohemian circles from 1910 until his early death. Shortly before, in a review of the only volume of his poetry published in his lifetime, a Berlin critic likened him to Arthur Rimbaud and named him the most outstanding young poet in Germany. Heym is celebrated for his concentrated, tightly-strung poetry which contains disturbing images of past and future, individual and mass destruction and mania. In this extensive critical and biographical study, Patrick Bridgwater discusses the whole of Heym's poetic output--over forty poems are quoted in full in the original German, with accompanying English prose translations--and shows that Heym's poetic achievement is considerably more varied and richer than its reputation hitherto. In addition, he gives an account of Heym as a playwright, and as the author of some of the most powerful short stories written in German that can stand beside those of Kleist and Kafka. Heym kept a series of journals and diaries, and copious use is made of these, of Heym's correspondence, and of the numerous memoirs by his fellow poets and writers, to build up a full-length portrait of the personality of Georg Heym, and to give an account of the multifarious literary and pictorial sources of his imagination, which included Holderlin, Buchner, Shelley, Keats, Baudelaire, Van Gogh and Munch. Bridgwater ends his study with a discussion of Heym's place in the general topography of neo-romanticism and German Expressionism, and cautions against too strict a confinement within Expressionist categories of the work of one of the major voices of early twentieth-century German literature.