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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Main Author: Léo Rivaud Chevaillier
Format: Article
Language:fra
Published: École du Louvre 2024-06-01
Series:Les Cahiers de l'École du Louvre
Subjects:
Online Access:https://journals.openedition.org/cel/31927
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author Léo Rivaud Chevaillier
author_facet Léo Rivaud Chevaillier
author_sort Léo Rivaud Chevaillier
collection DOAJ
description 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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series Les Cahiers de l'École du Louvre
spelling doaj-art-16640f5bcfdc49c1a197b9b925f1c3c32025-01-30T14:00:21ZfraÉcole du LouvreLes Cahiers de l'École du Louvre2262-208X2024-06-012210.4000/11w6qLes Fleurs du Mal, de la censure au muséeLéo Rivaud ChevaillierPaul 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.https://journals.openedition.org/cel/31927Les Fleurs du MalCharles BaudelaireAuguste RodinPaul GallimardHenri Marius Michelbibliophily
spellingShingle Léo Rivaud Chevaillier
Les Fleurs du Mal, de la censure au musée
Les Cahiers de l'École du Louvre
Les Fleurs du Mal
Charles Baudelaire
Auguste Rodin
Paul Gallimard
Henri Marius Michel
bibliophily
title Les Fleurs du Mal, de la censure au musée
title_full Les Fleurs du Mal, de la censure au musée
title_fullStr Les Fleurs du Mal, de la censure au musée
title_full_unstemmed Les Fleurs du Mal, de la censure au musée
title_short Les Fleurs du Mal, de la censure au musée
title_sort les fleurs du mal de la censure au musee
topic Les Fleurs du Mal
Charles Baudelaire
Auguste Rodin
Paul Gallimard
Henri Marius Michel
bibliophily
url https://journals.openedition.org/cel/31927
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