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Stomaching the Salon: The Sense of Taste in Le Tintamarre’s “Boulangerie du Louvre” and Baudelaire’s Salon de 1846

Stomaching the Salon: The Sense of Taste in Le Tintamarre’s “Boulangerie du Louvre” and... Baudelaire’s <i>Salon de 1846</i> appears to be devoted to the textual transposition of visual experience. Yet the text features a coherent body of tropes pertaining to the sense of taste—the physiological sense of flavor perception—and the gastronomic field more generally. These, I argue, are central to Baudelaire’s attempt to engage with a non-elite and non-specialist audience. The gustatory tropes bespeak the influence of journalism on the <i>Salon de 1846</i>, and in particular a contemporaneous strand of “gastronomic” art criticism: the 1840s “Boulangerie du Louvre” series from the “petit journal” <i>Le Tintamarre</i>, known and contributed to by Baudelaire. Through a comparative textual analysis of the two critical works, I show how Baudelaire adopts and adapts these culinary tropes. While <i>Le Tintamarre</i> uses the sense of taste to satirize the Salon, Baudelaire employs it to conceptualize and heighten the sensorial and corporeal pleasures of art for a bourgeois readership. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Nineteenth-Century French Studies University of Nebraska Press

Stomaching the Salon: The Sense of Taste in Le Tintamarre’s “Boulangerie du Louvre” and Baudelaire’s Salon de 1846

Nineteenth-Century French Studies , Volume 42 (1) – Oct 12, 2013

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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 The University of Nebraska Press.
ISSN
1536-0172

Abstract

Baudelaire’s <i>Salon de 1846</i> appears to be devoted to the textual transposition of visual experience. Yet the text features a coherent body of tropes pertaining to the sense of taste—the physiological sense of flavor perception—and the gastronomic field more generally. These, I argue, are central to Baudelaire’s attempt to engage with a non-elite and non-specialist audience. The gustatory tropes bespeak the influence of journalism on the <i>Salon de 1846</i>, and in particular a contemporaneous strand of “gastronomic” art criticism: the 1840s “Boulangerie du Louvre” series from the “petit journal” <i>Le Tintamarre</i>, known and contributed to by Baudelaire. Through a comparative textual analysis of the two critical works, I show how Baudelaire adopts and adapts these culinary tropes. While <i>Le Tintamarre</i> uses the sense of taste to satirize the Salon, Baudelaire employs it to conceptualize and heighten the sensorial and corporeal pleasures of art for a bourgeois readership.

Journal

Nineteenth-Century French StudiesUniversity of Nebraska Press

Published: Oct 12, 2013

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