Portret van Charles Baudelaire met hoge hoed 1869

Curator: My eye is immediately drawn to the subject, almost overwhelmed by negative space; it feels both assertive and understated. Editor: Indeed. What we're looking at here is Edouard Manet's 1869 pencil drawing, "Portret van Charles Baudelaire met hoge hoed", or "Portrait of Charles Baudelaire with a Top Hat." Curator: Knowing this is a sketch made of graphite by Manet contextualizes the medium. What does the mechanical use of the pencil reveal about Manet's studio practice and potentially mass-produced element of his art, and their relationship? Editor: I see your point about materials, but I'm drawn to how this portrait encapsulates Baudelaire's persona. That severe profile, framed by the hat, it's like a study in dandyism, an embrace of the artificial. What sociopolitical forces might prompt the two men to adopt and adapt the "dandy" subculture during Haussmannization in Paris? Curator: The deliberate choice of pencil also challenges any conventional boundary, right? Graphite’s industrial roots position this piece outside the gilded world of high art of the time. Editor: Interesting take, though the Romanticism that would inform Baudelaire's view that fashion may be used for a pursuit of an ideal is relevant, and worth recognizing as well. It begs us to think about gender and identity within rigid, conformist cultures. Curator: I would also add that the use of sketching offers a lens through to Manet's creative decision making, his working through form. Editor: Exactly. This sketch reminds us of art’s vital role in understanding social identities and lived realities in nineteenth century Paris. Curator: And even beyond that! The art world today has changed thanks to works just like these.