The Painter of Modern Life  

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''[[The Painter of Modern Life]]'' is the title of a series of [[essay]]s by [[Charles Baudelaire]] published in the French newspaper [[Le Figaro]] published [[November 26|26]], [[November 29|29 November]] and [[December 3|3 December]], [[1863]]. It is an early critique and appraisal of [[visual culture]] and the consumption thereof and concentrates on Dutch engraver [[Constantin Guys]]. See ''[[Baudelaire's art and literary criticism]]''. ''[[The Painter of Modern Life]]'' is the title of a series of [[essay]]s by [[Charles Baudelaire]] published in the French newspaper [[Le Figaro]] published [[November 26|26]], [[November 29|29 November]] and [[December 3|3 December]], [[1863]]. It is an early critique and appraisal of [[visual culture]] and the consumption thereof and concentrates on Dutch engraver [[Constantin Guys]]. See ''[[Baudelaire's art and literary criticism]]''.
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-==Notes on mechanical reproducibility of artworks with regard to Baudelaire and Benjamin== 
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-:Il y a dans le monde, et même dans le monde des artistes, des gens qui vont au musée du Louvre, passent rapidement, et sans leur accorder un regard, devant une foule de tableaux très intéressants, quoique de second ordre, et se plantent rêveurs devant un Titien ou un Raphaël, un de ceux que la gravure a le plus popularisés; puis sortent satisfaits, plus d'un se disant: "Je connais mon musée."  
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-English translation:  
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-:“The world—and even the world of artists—is full of people who can go to the Louvre, walk rapidly, without so much as a glance, past rows of very interesting, though secondary, pictures, to come to a rapturous halt in front of a [[Titian]] or [[Raphael]]—one of those that would have been most popularized by the [[printmaking|engraver’s art]]; then they will go home happy, not a few saying to themselves, ‘I know my Museum.‘” -- Charles Baudelaire  
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-In this excerpt, quoted from the [[Charles Baudelaire]]'s 1863 ''[[The Painter of Modern Life]]'', an essay on [[Constantin Guys]], Charles Baudelaire comments on the fact that [[artwork|works of art]] have lost their ''[[aura]]'' (a term borrowed here from [[Walter Benjamin]]) because of the technique of [[printmaking|engraving]]. For the first time in history, engraving allowed images of works of art to be [[mass media|mass]]-popularized in [[poster]]s and [[postcard]]s. This essay foreshadows Walter Benjamin's ''[[The Work of Art in the Age of Mechanical Reproduction]]''.  
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-It is precisely this [[mass production|mass-reproducibility]] of works of art, in two-dimensional (postcards of the [[Mona Lisa]]) as well as three-dimensional forms (plastic statues of the [[Venus de Milo]]), which has given birth to the concept of [[kitsch]].  
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== See also == == See also ==

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The Painter of Modern Life is the title of a series of essays by Charles Baudelaire published in the French newspaper Le Figaro published 26, 29 November and 3 December, 1863. It is an early critique and appraisal of visual culture and the consumption thereof and concentrates on Dutch engraver Constantin Guys. See Baudelaire's art and literary criticism.

See also

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Unless indicated otherwise, the text in this article is either based on Wikipedia article "The Painter of Modern Life" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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