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Inquiry.
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Painting Memories: On the Containment
of the Past in Baudelaire and Manet
Michael Fried
Near the beginning of Charles Baudelaire's Salon of 1846-one of the
most brilliant and intellectually ambitious essays in art criticism ever
written-the twenty-five-year-old author states that "the critic should arm
himself from the start with a sure criterion, a criterion drawn from
nature, and should then carry out his duty with a passion; for a critic
does not cease to be a man, and passion draws similar temperaments
together and exalts the reason to fresh heights."' It may be the emphasis
on passion, indeed on strong personal feeling of every kind, not only
here but everywhere in the Salon, that has prevented commentators from
taking wholly seriously the possibility that a single criterion is in fact at
work throughout it. But what if that criterion operates in the realm of
feeling, if it is itself a feeling or complex of feelings, and if, moreover,
as Baudelaire as much as says, no conflict between the claims of reason
and of passion exists within his conception of the critical enterprise? Not
that scholars have failed to recognize either the brilliance or (within
limits) the ambitiousness of the Salon of 1846; on the contrary, it is widely
regarded as the major extrapoetic text of Baudelaire's early career and
especially in recent years has received extensive commentary. But by and
large, those who have written about it have focused primarily on topics,
A first version of this essay was presented at a symposium on Edouard Manet at the
Center for Advanced Studies in the Visual Arts in Washington, D.C. in March 1983. I am
grateful to Jonathan Crewe and Walter Benn Michaels for their criticisms of that version,
to Neil Hertz for comments at a later stage, and to Charles Dempsey for helpful conversations
early and late.
Critical Inquir 10 (March 1984)
? 1984 by The University of Chicago. 0093-1896/84/1003-0003$01.00. All rights reserved.
510