The Vertigo of Contours
Painting and Prose Poems of Charles Baudelaire
DOI:
https://doi.org/10.23925/1983-4373.2024i32p6-23Keywords:
Delacroix, Poetry, Paris Spleen, Modernity, InfinityAbstract
This article proposes an association between Baudelaire's aesthetic thought and the advent of prose poems. The focus is on the period from the Salon of 1845 to the text written and published in honor of Eugène Delacroix (1862), a moment that coincides with the writing and publication of most of the Petits poèmes en prose in the press. I seek to show how the praise of color and fleeting forms intensifies throughout these texts, culminating in discussions about imagination, infinity, and the fraying of boundaries. This attention to the vertigo of contours is evident from the earliest comments on Delacroix's work and intensifies from the Salon of 1859, a text in which Baudelaire briefly comments on the evanescent and rarefied painting of Eugène Boudin, a painter who became famous for his landscapes of sky, sea, and beach, and for his great skill as a colorist.
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