The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
executed thus: the plate is set upright on an easel, the etching needle is held at arm's length (like a rapier), and the hand moves slowly from top to bottom." R. Castinelli, ! . Charles Meryon," Introduction to Charles Meryon, Eau,x-fortes sur Paris, p. iii. [J2a,2] Meryon produced his twenty-two etchings of Paris between 1852 and 1854. [J2a,3] When did the "Paris article" first appear? []2a,4] What Baudelaire says about a drawing by Daumier on the subject of cholera could also apply to certain engravings by Meryon: "True to its ironic custom in times of great calamity and political upheaval, the sky of Paris is superb; it is quite white and incandescent with heat;' Charles Baudelaire, Les DesJins de Daumier (paris
conduded ? There never was such a shorthand writer. m G. K. Chesterton, Dickens (series entitled Vie des hommes illustres, no. 9), trans. Laurent and Martin Dupont (Paris, 1927), pp. 40-41.1 1 [J3,3] Valery (Introduction to Les Fleurs du mal [Paris, 1926], p. xxv) speaks of a combination of '"eternity and intimacy ?? in Baudelaire.15 [J3,4] From the article by Barbey d? Aurevilly in Articles justicatifs pour Charles Baudelaire, auteur des Fleurs du mal (Paris, 1857), a hooklet of thirty-three pages, with other contributions by Dulamon, Asselineau, and Thierry, which was printed at Baudelaire's expense for the trial: 16 '"The poet, terrifying and terrified, wanted us to inhale the abomination of that dread basket that he carries, pale canephore, on his head bristling with horror . ... His talent . .. is itself a flower of evil cultivated in the hothouses of Decadence . ... There is something of Dante in the author of Les Fleurs du mal, but it is the Dante of an epoch in decline, an atheist and modernist Dante, a Dante come after Voltaire." Cited in W. T. Bandy, Baudelaire Judged by His Contempora.ries (New Yo rk p. 421) points to the influence of the "Two Crepuscules"
- Page 198 and 199: Connection of the first world exhib
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- Page 244 and 245: Charles Baudelaire, 1855. Photo by
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conduded ? <strong>The</strong>re never was such a shorthand writer. m G. K. Chesterton, Dickens<br />
(series entitled Vie des hommes illustres, no. 9), trans. Laurent and Martin<br />
Dupont (Paris, 1927), pp. 40-41.1 1 [J3,3]<br />
Valery (Introduction to Les Fleurs du mal [Paris, 1926], p. xxv) speaks of a combination<br />
of '"eternity and intimacy ?? in Baudelaire.15 [J3,4]<br />
From the article by Barbey d? Aurevilly in Articles justicatifs pour Charles Baudelaire,<br />
auteur des Fleurs du mal (Paris, 1857), a hooklet of thirty-three pages, with<br />
other contributions by Dulamon, Asselineau, and Thierry, which was printed at<br />
Baudelaire's expense for the trial: 16 '"<strong>The</strong> poet, terrifying and terrified, wanted us<br />
to inhale the abomination of that dread basket that he carries, pale canephore, on<br />
his head bristling with horror . ... His talent . .. is itself a flower of evil cultivated<br />
in the hothouses of Decadence . ... <strong>The</strong>re is something of Dante in the author of<br />
Les Fleurs du mal, but it is the Dante of an epoch in decline, an atheist and<br />
modernist Dante, a Dante come after Voltaire." Cited in W. T. Bandy, Baudelaire<br />
Judged by His Contempora.ries (New Yo rk p. 421) points to the influence of the "Two Crepuscules"
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