love (4)

anti-naturalismo, as mulheres, o artista-criança, love: "it is sad but only too true that without the money and the leisure, love is incapable of rising above a grocer's orgy or the accomplishment of a conjugal duty. Instead of being a passionate or poetical caprice, it becomes a repulsive utility.", Baudelaire em The Painter of Modern Life.

e dandyismo: "Dandyism is a sunset; like the declining daystar, it is glorious, without heat and full of melancholy. But alas, the rising tide of democracy, which invades and levels everything, is daily overwhelming these last representatives of human pride and pouring floods of oblivion upon the footprints of these stupendous warriors."
(desintoxicação rápida, vá)

"For many art historians, Manet was Baudelaire’s “Painter of Modern Life;” but the poet, who died in 1867, did not live to see his friend become successful or at least renowned. Nevertheless, it was Manet who began to capture the essence of modernité, a quality the critic called “the fugitive, fleeting beauty of present day life…” La vie moderne was based in the city, the heart of darkness of the century, a place of anomie and indifference. Wiped clean of anecdote and symbolism and of meaning, Manet’s art becomes a synedoche, a slice of life but a very particular kind of life. Like his friend, Edgar Degas, Manet was a man about town who knew well the pleasures of the boulevards and brothels and cafés and cabarets and bars. Life in Paris had a duality and a hypocrisy: a bourgeoisie respectability on one hand and an underground, Baudelaire’s “floating existences,” of marginalized people living on the fringes of respectability or far beyond social redemption. In Manet’s art, as in Courbet’s later works, women were the main commodities of the era. Forced into prostitution by economic conditions beyond their control, women were bought and sold, everywhere available to the highest male bidder. Women, or to be more precise, the “fallen woman,” became the visual images upon which the Second Empire depicted itself as the all-consuming bourgeois male in power." (daqui)

Griselda Pollock - VICARIOUS EXCITEMENT S

revisão.