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Vida amorosa de Charles Boudelaire
¿Qué pensaba realmente Charles Baudelaire de las mujeres a las que inmortalizó
en sus versos? ¿Por qué prefería acudir
a los burdeles más sórdidos y a las prostitutas más abyectas? ¿Por qué se dejó
maltratar durante años por su amante
Jeanne Duval? ¿Qué secreto, en definitiva, escondía la vida erótica del autor de
Las flores del mal?
Camille Mauclair (1872-1945), escritor,
historiador del arte y crítico literario,
realizó este estudio preciso y apasionado
de la vida íntima de Baudelaire en 1927,
sesenta años después de la muerte del poeta, lo que le permitió hallar aún valiosos
testimonios de los detalles más privados
de una vida que resultó magnífica en el
genio y miserable en el amor.
en sus versos? ¿Por qué prefería acudir
a los burdeles más sórdidos y a las prostitutas más abyectas? ¿Por qué se dejó
maltratar durante años por su amante
Jeanne Duval? ¿Qué secreto, en definitiva, escondía la vida erótica del autor de
Las flores del mal?
Camille Mauclair (1872-1945), escritor,
historiador del arte y crítico literario,
realizó este estudio preciso y apasionado
de la vida íntima de Baudelaire en 1927,
sesenta años después de la muerte del poeta, lo que le permitió hallar aún valiosos
testimonios de los detalles más privados
de una vida que resultó magnífica en el
genio y miserable en el amor.
148 pages, Paperback
Published January 1, 2018
2 people are currently reading
25 people want to read
About the author
Camille Mauclair
249 books2 followersSéverin Faust (December 29, 1872, Paris – April 23, 1945), better known by his pseudonym Camille Mauclair, was a French poet, novelist, biographer, travel writer, and art critic.
Mauclair was a great admirer of Stéphane Mallarmé, to whom he dedicated several works, and of Maurice Maeterlinck. He was initially a poet and novelist. His poetry attracted some attention and was set to music by Ernest Bloch, Gustave Charpentier, and Ernest Chausson and Nadia Boulanger.
His best-known novel is Le Soleil des morts (1898) a roman à clef containing fictionalized portraits of leading avant-garde writers, artists, and musicians of the 1890s, which has been recognized as an important historical document of the fin de siècle.
He also wrote several non-fiction books about music including Schumann (1906), The Religion of Music (1909), The History of European Music from 1850-1914 (1914) and The Heroes of the Orchestra (1921) which contributed greatly to French awareness of musical trends in turn-of-the-century Paris.
As art critic at the Mercure de France, he attacked artists such as Paul Gauguin and Henri de Toulouse-Lautrec, though he expressed his admiration when their work became accepted.[6]
Later in life he wrote mainly nonfiction, including travel writing such as Normandy (1939), biographies of writers, artists, and musicians, and art criticism. In his art criticism, he supported impressionism and symbolism,[1] but disdained Fauvism, writing of the style that "a pot of paint has been flung in the face of the public". He also provided the libretto for Antoine Mariotte's 3-act 'conte lyrique' Nele Dooryn, premiered at the Opéra-Comique in 1940.
At the end of his life, he collaborated with the Vichy France-regime, and worked for the Grand Magazine illustré de la Race : Revivre.
He was also a cofounder of the Théâtre de l'Œuvre with Lugné-Poe.[1]
Mauclair was a great admirer of Stéphane Mallarmé, to whom he dedicated several works, and of Maurice Maeterlinck. He was initially a poet and novelist. His poetry attracted some attention and was set to music by Ernest Bloch, Gustave Charpentier, and Ernest Chausson and Nadia Boulanger.
His best-known novel is Le Soleil des morts (1898) a roman à clef containing fictionalized portraits of leading avant-garde writers, artists, and musicians of the 1890s, which has been recognized as an important historical document of the fin de siècle.
He also wrote several non-fiction books about music including Schumann (1906), The Religion of Music (1909), The History of European Music from 1850-1914 (1914) and The Heroes of the Orchestra (1921) which contributed greatly to French awareness of musical trends in turn-of-the-century Paris.
As art critic at the Mercure de France, he attacked artists such as Paul Gauguin and Henri de Toulouse-Lautrec, though he expressed his admiration when their work became accepted.[6]
Later in life he wrote mainly nonfiction, including travel writing such as Normandy (1939), biographies of writers, artists, and musicians, and art criticism. In his art criticism, he supported impressionism and symbolism,[1] but disdained Fauvism, writing of the style that "a pot of paint has been flung in the face of the public". He also provided the libretto for Antoine Mariotte's 3-act 'conte lyrique' Nele Dooryn, premiered at the Opéra-Comique in 1940.
At the end of his life, he collaborated with the Vichy France-regime, and worked for the Grand Magazine illustré de la Race : Revivre.
He was also a cofounder of the Théâtre de l'Œuvre with Lugné-Poe.[1]
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Displaying 1 - 2 of 2 reviews
July 20, 2022
Divertidisimo. Un excelente libro para pensar el conflicto de la separación entre la obra y el artista. Una gran diatriba contra el dandismo y su ridiculez. Una mirada a lo que hace la figura del malditismo en las obras. Un gran perfil atravesado por un edipo feroz. Una muestra de la misoginia en las artes. Este libro es muchas cosas. Lo he disfrutado de principio a fin.
December 3, 2025
Pobre tipo. Baudelaire, digo. Y qué libro duro. Necesariamente duro, porque solemos idealizar, sino idolatrar, la vida de los desdichados, y Baudelaire fue innecesariamente desdichado durante gran parte de su vida: desde los siete años, prácticamente, hasta su (trágica) muerte. Y su vida, y su obra, son vistos en este libro en el contexto de su vida amorosa o, mejor dicho, vida en general, que podría caracterizarse justamente por la falta de amor.
Displaying 1 - 2 of 2 reviews