Modernism is linked with the disillusionment of modern society with its previously accepted values and standards, as well as with the search for a new source of fulfillment. Being one of the first writers described as a modernist, Charles Baudelaire provided harsh criticism of many aspects of society that he deemed archaic or lacking depth while he searched for a genuine expression of self. This paper will reflect on the topic of modernism in Baudelaire’s works, including The Painter of Modern Life and Paris Spleen.
It is crucial to begin exploring this literary movement from its earliest examples, and Baudelaire gives a solid foundation for this shift. The aspect of fickleness is the first pillar on which modernism stands, according to Baudelaire. For example, in The Stranger, one’s love of clouds overshadows traditional and materialistic values, such as gold or relatives (Paris Spleen, 27). The ever-changing nature of this atmospheric phenomenon can be seen as a symbol of modernist values, which the author highlights in his works.
At the same time, the need to understand why fickleness is appreciated is the core of modernism. For this clarification, it is essential to highlight that modernity refers to the specific progress indicative of a historical period. Modernists appeared at the time of significant social changes, which, inevitably, rapidly reshaped communities, gave many opportunities to people, and caused them new crises and triumphs. According to Baudelaire, “to contemplate the movements of those who leave and those who arrive, those who still have strength of will, the desire to travel or to grow rich” can be viewed as a form of meditation (Paris Spleen, 127). Therefore, the second aspect of modernism is the fascination with new opportunities, as they provide inspiration for people to go beyond what is accepted as a norm. While modernity may still embrace past ideas, modernism ushers people to consider them as history without denying their values. However, this movement opposes stagnation or relapses, as they are viewed as disinteresting and unimaginative.
Furthermore, Baudelaire shares his thoughts on the need to distance old and new. An infant might be scared by their old and wrinkled grandmother, whom they will cherish and respect once they grow older and learn from their relatives’ experiences (Paris Spleen, 29). Similarly, modern artists must remember past techniques, artworks, and their authors and respect their deeds, although copying them would signify their lacking creativity. Instead of copying forms, people can adapt the concepts that allow the depicted objects to appear beautiful in the eyes of onlookers. This aspect of modernism implies that the artistic value of any art piece is derived from creating eternal beauty using instruments, forms, and techniques that relate to the epoch during which it was made (The Painter of Modern Life). This notion is also shown in the author’s poems. In The Fool and Venus, Baudelaire paints a situation where a person pointlessly begs a marble statue of the goddess to grant him the gift of love (Paris Spleen, 29). Similarly, modern-day artists may seek inspiration from great talents from the past, yet they will not be bestowed with one of their own through such an action.
It is essential to differentiate between fickleness and shallowness, as the author opposes baseless admiration while promoting the need to change with time. The Painter of Modern Life adds to this topic through its reflections on contemporary society by depicting the real people who lived at that time. The author’s point of view includes both negative and positive comments on the subject, clearly defining the modernity he experiences. Baudelaire understands how a thriving society, even at its highest point of progress, can lead to the loss of self among people. An idle man with no goal in life has to seek new, higher values other than mere materialistic ones or become as redundant as his riches (The Painter of Modern Life). This thought is indicative of the modernist ideology, which opposes all notions of static and immutable. Baudelaire explicitly expresses his dissatisfaction regarding stagnating doctrines, describing crowds as “the public, to whom one must not present the delicate perfumes which exasperate them, but carefully selected crap” (Paris Spleen, 43). Such a direct condemnation is a reflection of the author’s negative views on praising traditions and sticking to the norms instead of trying to explore new horizons.
Embracing modernity requires one to view past the primary forms, accepted rules, and recognizable patterns. The lacking in-depth analysis of both modern and traditional art by their viewers, who are described to be passersby rather than genuine admirers, is one of the issues Baudelaire had with his social cohort (The Painter of Modern Life). The fact that many artists did not merely draw inspiration from the paintings of the past but copied their concepts and techniques without creativity was infuriating to Baudelaire. In turn, Baudelaire calls for experimenting and revolutionizing art.
Another critical topic that depicts the aspects of modernity in Baudelaire’s works is the lack of actual existence of self among the described crowds. Two distinct factors affect this idea, as the author both condemns and praises large groups of people for their conflicting qualities. Baudelaire’s descriptions of such gatherings made them appear vibrant and filled with life, despite the tumult they convey (The Painter of Modern Life). However, there is a negative connotation to this aspect of modernism, as large throngs bear with them the lack of “I.” There are ideas that are propagated among each crowd that replace the value of an individual’s thoughts, making people believe what they should appreciate without understanding or doubting the nature of beauty (The Painter of Modern Life). At the same time, a crowd can be an inspiration, especially in the period when the author lived. It is the love of travel and seeking new views that can fuel one’s appreciation of throngs of people, as they may serve as a way to commune, even non-verbally, with strangers (Paris Spleen, 53). Such a variety of passersby is also indicative of modernist values, as their fleeting appearances can inspire artists to create beauty.
In Paris Spleen, these two topics are related through indirect indications of their proper blending. Modernism praises modernity for the opportunities it gives through providing new ideas and changing social values that lead to the formation of different art forms and movements. Thoughts and emotions that any social change sparks can offer a limitless supply of inspiration. For example, in A Toy for the Poor, Baudelaire shows why a soul is essential for art to be engaging by showing that fascination does not come from a price tag but from novelty (Paris Spleen, 71). Similarly, people may perfect an outdated technique yet remain unrecognized among the crowds that will compare such an author with those whose works are too great to be outshined.
The beginnings of modernism are apparent in Baudelaire’s famous essay on the subject. The writer argues that it is the nature of humankind to be in a constant state of charge (The Painter of Modern Life). Opposing such a foundational aspect that creates beauty is not only counterintuitive but detrimental to societal progress. Baudelaire argues that “beauty is formed of an eternal and invariable element […] and a relative and circumstantial element which will embody […] the epoch”(The Painter of Modern Life). This combination requires both artists and their audiences to understand the need to incorporate new and emerging cultural aspects into one’s artwork in order to create a piece that can be seen as beautiful.
In conclusion, the notion of modernism is reflected in Baudelaire’s works through his dissatisfaction with society being stuck in the past and remaining shallow in its views on art forms and traditions. The aspects of this movement are linked with a constant search for new inspiration and the courage to try out forms never seen before. Modernism recognizes the value of the past yet seeks to create the same eternal beauty with tools that the current era provides. Modernity, which is a reflection of society’s progress in recent times, must be adequately incorporated into art in order for onlookers to see beauty instead of a mere execution of past techniques. In Baudelaire’s view, only the ability to execute a combination of these two elements can create a spark that is required for one to deem themselves an artist.