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“... them he found many things present, and many things absent. Chief among the missing was the book on Baudelaire that had consumed Benjamin during the last three years of his life (and for which he had interrupted his work on the Arcades Project). Rumours about the location of the missing manuscript circulated widely. Some thought it must lie high in the ...”

“... QuartetThe​ image on the front of Late Fragments is a portrait taken by the Belgian photographer Charles Neyt in 1864. Start with those eyes: distrustful, assessing, imperious. An art critic’s eyes. Rakish eyes. Pharmacopoeia eyes. His face is mask-like, giving little or nothing away. Bored, cigar-smoking, distrait. He could be lost in reverie, or just ...”

“... Rugoff, is an ambitious attempt to see how this artistic project stands nearly 150 years after Charles Baudelaire proposed it in his essay ‘The Painter of Modern Life’ (1863). There the poet called for a shift in subject matter – already begun in the practice of Manet and others – away from the grand themes of myth and history, and towards the ...”

“... Like​ the knives of Chinese jugglers’, Charles Bataille said of his friend Félix Nadar, ‘turbulent, unexpected, terrifying’. Adam Begley’s biography describes a life lived so frenetically, it’s surprising it lasted so long – Nadar died at the age of ninety, in 1910. Yet he is remembered today primarily for the stillness and serenity of his photographic portraits of 19th-century Parisian luminaries ...”

“... not to be stifled by them. Especially in its wide-ranging and sometimes over-informative notes (Charles Baudelaire? Oh, that Baudelaire) the book occasionally lapses into the tenure-seeking stodge of an academic thesis, as if its governing spirit emanated from the assembled professors in Ball of Fire. But mostly she ...”

“... While Baudelaire, speech-bereft, lay on his sick-bed in Brussels, his mother, rummaging through his overcoat, came across some photographs of her son taken by Nadar. It was a strange but instructive find. Baudelaire detested photography (as a mere technology of mechanical reproduction, it was the emblem of modernity’s threat to art), and yet his own photographic image, notably the portraits left by Nadar, is in many ways a capital document for understanding the tormented, self-destructive trajectory of his ‘life ...”

“... handing back Yorick’s skull to the gravedigger, an inspired prankster yells out: ‘Wai-ter.’ Charles Baudelaire had, it might be argued, a more authentic claim to the inky cloak and cosmic melancholy of the troubled prince than any other writer of the era. His much loved father, Joseph-François Baudelaire, died ...”

“... to settle on whether to speak to him from inside or outside his own voice. In his ‘Tomb of Charles Baudelaire’, Mallarmé called his predecessor a ‘poison tutélaire/Toujours à respirer si nous en périssons’ (‘a tutelary poison/we breathe always though we die of it’). It’s a neat way of imagining the powerful poet as the air we ...”

“... Fashion,​ according to Baudelaire, is a moral affair. It is, more specifically, the obligation laid upon a woman to transform herself, outwardly and visibly, into a work of art, or, at the very least, into a work of artifice, thus acknowledging the distance that must be measured between her natural and unredeemed state and the peculiar idol she must become if she espouses the work of self-admonition and self-regulation, and therefore of disguise, constraint, impassivity ...”

“... monarchy, then to the departed Napoleon, and finally to ‘liberalism in art’. Stendhal and Baudelaire produced more durable definitions by linking it to the present. For Stendhal, ‘Romanticism is the art of offering people the literary works which, in the present state of their habits and beliefs, are likely to give them the greatest possible ...”

“... packed dado to ceiling on the Salon’s walls. Eleven years earlier, in his ‘Salon de 1846’, Baudelaire had sardonically wondered ‘why sculpture is boring’. Three-dimensional manufacture – ‘brutale et positive comme la nature’ – satisfies only hicks and savages, the critic suggested. More advanced minds will not be content with objects that ...”

“... Plastic! Plastic! The plastic – that frightful word gives me gooseflesh.’ This is Baudelaire, wickedly ventriloquising the neoclassical obsession with ‘the immoderate love of form’ in an essay called ‘The Pagan School’, published in 1852. ‘Plastic’ in this sense was a key criterion of formalist art: ‘plastic art’, ‘plastic merit’ and ‘plastic beauty’ were high compliments ...”

“... Pauline epigraph: ‘I had not known sin, but by the law.’ He always had gurus – Gerald Heard, Charles Williams, Georg Groddeck, Homer Lane. Some quietly faded away, but with a few he enjoyed an enduring sympathy: Forster and Virginia Woolf, for instance, and Eliot, with the respect due to the publisher of his first book of poems, but staying well short of ...”

“... ever changed the fibres of his character.’ Through all the ups and downs of fortune recounted in Charles Hobday’s biography, the essential stuff of the man remains the same. Rickword was born in Colchester in 1898, the son of the town’s first borough librarian, who was also a local historian. Edgell’s background was thus in a petit bourgeois family of ...”

“... a debt to the French, likely in these years when English poets were influenced, as Eliot was, by Baudelaire and others. Indeed Eliot, rejecting the 1890s reading of Baudelaire, had made himself the major exponent of that author as a fierce moralist as well as the poet of ‘l’immonde cité’, and ...”