Les Fleurs du Mal, de la censure au musée
Paul Gallimard (1850–1929), one of the most remarkable collectors of his time, owned a work that was unique in more ways than one: a copy of Les Fleurs du Mal by Baudelaire, with a handwritten letter, enriched with marginal and interleaved drawings by Auguste Rodin. It has been in the Musée Rodin in...
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| Format: | Article |
| Language: | fra |
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École du Louvre
2024-06-01
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| Series: | Les Cahiers de l'École du Louvre |
| Subjects: | |
| Online Access: | https://journals.openedition.org/cel/31927 |
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| Summary: | Paul Gallimard (1850–1929), one of the most remarkable collectors of his time, owned a work that was unique in more ways than one: a copy of Les Fleurs du Mal by Baudelaire, with a handwritten letter, enriched with marginal and interleaved drawings by Auguste Rodin. It has been in the Musée Rodin in Paris since 1931. The artist had discussed the idea of confronting Baudelaire’s poetry, a source of inspiration for his Gates of Hell, before receiving the commission from Gallimard. Between October 1887 and January 1888, Rodin produced the drawings, destined to be seen only by the collector, who wanted a unique book, following in the footsteps of the Goncourt brothers. From the Poulet-Malassis editions in 1857 to the creation of a facsimile edition by the Société des Amis du Livre Moderne in 1918, the history of this objet d’art is a subject at the crossroads of many contemporary issues in a new “bibliopolis” (O. Uzanne). The article examines the various temporalities and agencies of the object. |
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| ISSN: | 2262-208X |