This author discussed the illustrator Constantin Guys as a "passionate (*) spectator" for whom "it is an immense joy to set up house in the heart of the multitude."
A review by this critic distinguishes positivist from imaginist artists, siding with the latter because the imagination is the "queen of the faculties." This author's distinction of "ladies" and "fallen women" in the "Women and Prostitutes" section of one of his essays is expanded into a grid of places and the artists who could paint them in Griselda Pollock's "Modernity and the Spaces of Femininity." Letters between this critic and Manet are quoted in T.Â J. Clark's "Olympia's Choice," which appears in a book titled after an essay by this man. This author discussed the illustrator Constantin Guys as a "passionate (*) spectator" for whom "it is an immense joy to set up house in the heart of the multitude." This author of "The Painter of Modern Life" had his response to Haussmannization discussed in the Arcades project of Walter Benjamin, who expanded his notion of the "flÃ¢neur." For 10 points, name this author who influenced Symbolist aesthetics with his Les Fleurs du Mal.
A review by this critic distinguishes positivist from imaginist artists, siding with the latter because the imagination is the "queen of the faculties."
Charles Baudelaire