Abstract

This article addresses the connection between Charles Baudelaire's evocation of color in the Salon de 1846 and the chemist Michel-Eugène Chevreul's theory of color modification set forth in De la loi du contraste simultané (1839). Chevreul's work is read as the theoretical context for the scientific dimension of Baudelaire's conception of color, an aspect of his color theory that is central to his thinking about the nature and structure of harmony and analogy. But the parallel between Chevreul and Baudelaire extends beyond their representations of color. They are further connected by the way in which they use color as an impetus to rethink the critical perspective of the scientist or art critic. (JP)

pdf

Additional Information

ISSN
1536-0172
Print ISSN
0146-7891
Pages
pp. 342-357
Launched on MUSE
2005-06-28
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.