The paper "The Painter of Modern Life" is a worthy example of an annotated bibliography on performing arts. Baudelaire (2010) explores fashion, dandyism, beauty and the role and purpose of the artist, and defines a painter. The reading addresses problematic and affirmative features of modernism besides promoting modernist aesthetic. Baudelaire defines artists as slaves who include simple manual laborers, village pub-talkers and skilled monsters. He further maintains that an artist is a man of the world and a child; a man who comprehends the world and the lawful and mysterious reasons for all its uses.
According to Baudelaire, most of the artists are no more than pure artisans, village intellects, cottage brains, and highly skilled animals. The author maintains that artists are always in the condition of convalescent where convalescence returns them towards childhood. Convalescence allows artists to immerse themselves in the faculty of enthusiastically interesting themselves in things. Artists just like Monsieur G, marvel at the eternal beauty and the startling harmony of life in capital cities. Monsieur gazes upon landscapes of great cities and delights in the universal life.
Baudelaire (2010) stresses convalescence as a concept of modernist where surviving is very paramount. Convalescence is the cornerstone of modernism artists, and artists put the yearning into action to utilize the experience into their art. Baudelaire (2010) also talks about modernity. He discusses modernity in relation to Guys. Baudelaire maintains that the embodiment of fashion and modernity is after modernity. By this, he implies that through representing fashion, one can develop modern beauty and art where fashion becomes the renovation of the new. According to Baudelaire (2010), for any modernity to take place of ancient times, it is crucial for the mysterious beauty which human life puts into it to be distilled from it.
He maintains that the beauty of art should be looked at in its present nature in people and streets rather than searching for classical portraits. The author concludes by upholding the need and myth of artists in culture. He defines the magical development procedure as an action that offers objects that carry the soul and nature of their maker. He believes that simplicity towards the present is essential than borrowing artistic ideas from the past.
He is more concerned about artists who focus on arts that promote advancement in efforts of searching for modernity. According to Baudelaire, nothing in life is real because everything changes at some point. Similarly, art should not be a copy of nature but should be artificial. In this view, the role of artists is to re-imagine the eternal aspect that captures the disposition of the moment. Although the arguments of Baudelaire are valid with regard to search for modernity, one is left to wonder how art is a renovation of the new and not of the past.
Baudelaire, C 2010, The painter of modern life, UK, Penguin Adult.
Hays, K.M 1984, Critical architecture: Between culture and form, Perspecta, vol.21, pp.14-29.
Jameson, F 1991, Postmodern, or, the cultural logic of late capitalism, UK, Duke University Press.
Kerckhove, K et al 2004, Devices of Design: Colloquim & Roundtable discussion, Canadian Centre for Architecture, pp. 1-80.
Lepik, A 2010, Small scale, big change: New architectures of social engagement, USA, The Museum of Modern Art.