Summary Of The Flowers Of Evil By Charles Baudelaire

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

Similar to how the early concept of the chiasm which Merleau-Ponty explored in Cézanne’s Doubt was resolved more fully by the time of writing The Visible and the Invisible, Crowther’s early physical and perceptual interest in Merleau-Ponty’s concept of “Flesh” - which Crother (2012, 103) argues is the central tenet of Merleau-Ponty’s phenomenology – and which he began to explore in Phenomenology of the Visual Arts (even the frame) is drawn to a less perceptual and more philosophical conclusion in The Phenomenology of Modern Art: Exploding Deleuze, Illuminating Style (2012).

Since the first brush stroke was taken in Europe, the paintings that have been produced have played a vital role in revealing our world 's past, history, religion and daily lives of its citizens. Each time period and movement have influenced artists from its first existence to even this very day, creating an extraordinary timeline of art and history as one. Frans Hals ' Merrymakers at Shrovetide of 1615 and Francois Boucher 's Interrupted Sleep of 1750 are no exception. Despite their different time periods and movements, the two paintings each have many parallels and at the same time very distinct styles which play on how influential artists ' styles are upon each other. Even with all of the differences and similarities, both paintings are

From across the room, I felt his eyes upon me. Louis had us seated at a table near a window overlooking the slow flowing muddy river. Myles Laveau sat across the room, his dinner companion’s back was toward the room and to me- I was seething with a need to view her face. Why was I feeling this way, he was not mine… I had no right to be angry. I had Louis to my left and Boudreaux to my right, but wanted what was out of reach- at least for the moment. I knew I could have him again; Myles Laveau affected me the same way the flame-haired woman had, but unlike her, he made himself available. The simplest touch from him sent quivers through my pleasure place; just the touch of his eyes upon me had me quivering with desire for him, and

First thing that I noticed about this gorgeous oil and tempera on panel painting was the precise emotional aspect: romantic and simple, yet so exceptionally lifelike. This work surely shows a development from the powerfully

The painting “A Bar at the Folies-Bergere” a first modern painting that portrays young woman resting on the marble counter, the girl looks below the blond bangs with distant eyes and serene. Has the neckline adorned with a bouquet of flowers in front of it are bottles of champagne, beer and peppermint schnapps. She is the symbol of his time and the reality of his time reflected on his face. The tones of the picture, cold and creamy, remember rain and inspire melancholy. Through a game of perspective and optics, Manet gets the strange impression that we are also confronted the waitress the picture, as if we were at the Folies-Bergère and we saw that dandy reflecting itself. the result of the distorted logic of the work - is perceived tension.

A Bar at the Folies-Bergère depicts a scene in the Folies-Bergère nightclub in Paris. The protagonist of the painting is a young woman in the middle. She looks nearly 20 years old. The young woman looks like a salesgirl in this bar who has an oval face and long blond hair. two of her hands support the marble bar, the expression on her face is somewhat sluggish, not like looking at the front, she seems straightly staring at the slope below. She was in a daze, with a tried face. She is in a simple black dress with a square collar and two seven-point sleeve cuffs which decorated with simple lace. There is a bunch of flowers in front of her neckline. The golden necklace and bracelet she wears look discord with her overall dressings.

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

A painting by Edouard Manet called “A Bar at the Folies-Bergere,” depicts a woman standing at a bar with a mirror behind her, which is conveying her environment, a busy, loud, bar that mostly pleasures men. The location of the painting is at the Folies-Bergere in Paris, a place for entertainment in the late 1800’s. The perspective of the viewer is from the man in the mirrors’ view, since the viewer is looking directly at her front, and not her back. The lady at the bar holds a bored, almost void of emotion, while her eyes are not reaching the viewers’ eyes. The objects in front of the mirrors’ reflections are slightly asymmetrical, which allows the viewer to see every object.

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

The mystery about her facial expression has been comparable to that of Mona Lisa’s smile, and has given her the nickname “Mona Lisa of the North.” She turns to the viewer as if suddenly, like the viewer had just caught her attention. Her steely gray eyes focus on the audience with a look of suddenness, as if something has just happened or is about to happen. However, her lips are parted, so perhaps she is about to say something. Vermeer paints with white and lighter red shades to play up the fact that her lips are moist and glossy. She could have been kissing someone and gotten caught, for all anyone knows. No one does, though, and that is the appeal of the painting. It’s simple and obviously a piece that could only be made by someone very skilled and talented. Yet her origin and identity are completely unknown, and her facial expression mystifies everyone who meets her gaze. But there is a sense of familiarity; she looks at the viewer as if she knows them, and this is what is particularly striking. To have some stranger in a painting stare out at the viewer, as if she’s known them all her life. It’s intimate and familiar, but the sense of urgency and alarm, even danger, still hangs in the air. The curiosity of the painting and the many questions surrounding it are what truly make it a masterpiece, and one of the most beloved paintings in the

He characterises the store as a microcosm of the societal and economical changes that was taking place in the larger bourgeoise culture of France. The Ladies Paradise, the fictional department store is just a cog in the mechanism of capitalism’s ruthless efficiency, it does not care about it’s consumers personal satisfaction, rather it is only concerned about making a profit. As the concept of the department is seen as the origin of fashion consumerism, Mouret employs marketing techniques to create spontaneous desire by playing with his customers senses, particularly the sense of sight. The first thing they see when they walk into the illuminated store is the window display. In an attempt to appeal to their femininity he throws brightly coloured scarves in mounting displays in front of the store.

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this

The Flowers of Evil contains several poems titled Spleen. The significance of spleen relates to the ancient Greek belief that sadness originates from the fluids of the spleen (Puchner 468). In Baudelaire’s poems spleen becomes a representation of “thoroughgoing disgust with life” (468). In Spleen LXXXI readers experience a sense of despair. There are several key elements within the poem that evoke this feeling. The descriptions of rain, bats, spiders and the brain each contribute to despair and the inability to escape.

He invites us into a tour of the “Musée des Beaux Arts”, in order for the reader to understand the “Old Masters’ point of view which is displayed in the paintings. The pronouns ‘its” and “it”(line 3) refer to the word suffering. Then, the following verses are meant to contrast with the suffering people experience. Those verses are descriptions of what is happening while other people are experiencing suffering. Unlike what we can imagine, the people described are not themselves in pain, they are just occupied with their everyday activities: “While someone else is eating or opening a window or just walking /dully along”(lines 4 to 5). Also, even a “miraculous birth”(line 7) does not keep people from being self-centered. In the first stanza, the author wants to insist on the fact that meaningful events are occurring, but people are not paying attention to what surrounds them. They just focus on their matter. In the second stanza, Auden names the work of art on which he is making the commentary: Brueghel’s Icarus. Brueghel painted Icarus in such a way that the part of the painting that is relevant to the title of the painting remains discrete. A disaster is occurring. Indeed, Icarus has fallen from the sky, and is now drowning. We can see his legs outside the water. Still, no one seems to care. The ship “that must have seen”(line 21) Icarus’ legs “sailed calmly on”. Auden here personifies the ship. This