Baudelaire was an active participant in the artistic life of his times. As critic and essayist, he wrote extensively and perceptively about the luminaries and themes of French culture. He was frank with friends and enemies, rarely took the diplomatic approach and sometimes responded violently verbally, which often undermined his cause. His associations were numerous and included: Gustave Courbet, Honoré Daumier, Franz Liszt, Champfleury, Victor Hugo, Gustave Flaubert, Balzac and the artists and writers that follow.
Edgar Allan Poe
In 1846 and 1847, Baudelaire became acquainted with the works of Poe, in which he found tales and poems that had, he claimed, long existed in his own brain but never taken shape. Baudelaire had much in common with Poe (who died in 1849 at age forty). The two poets display a similar sensibility of the macabre and supernatural turn of mind; each struggled with illness, poverty, and melancholy. Like Poe, Baudelaire believed in the doctrine of original sin, denounced democracy and the idea of progress and of man's natural goodness, and Poe held a disdainful aristocratic attitude similar to Baudelaire's dandy. Baudelaire saw in Poe a precursor and tried to be his French contemporary counterpart. From this time until 1865, he was largely occupied with translating Poe's works; his translations were widely praised. Baudelaire was not the first French translator of Poe, but his "scrupulous translations" were considered among the best. These were published as Histoires extraordinaires (Extraordinary stories) (1852), Nouvelles histoires extraordinaires (New extraordinary stories) (1857), Aventures d'Arthur Gordon Pym, Eureka, and Histoires grotesques et sérieuses (Grotesque and serious stories) (1865). Two essays on Poe are to be found in his Oeuvres complètes (Complete works) (vols. v. and vi.).
A strong supporter of the Romantic painter Delacroix, Baudelaire called him "a poet in painting". Baudelaire also absorbed much of Delacroix's aesthetic ideas as expressed in his journals. As Baudelaire elaborated in his "Salon of 1846", "As one contemplates his series of pictures, one seems to be attending the celebration of some grievous mystery.... This grave and lofty melancholy shines with a dull light ... plaintive and profound like a melody by Weber." Delacroix, though appreciative, kept his distance from Baudelaire, particularly after the scandal of Les Fleurs du mal. In private correspondence, Delacroix stated that Baudelaire "really gets on my nerves" and he expressed his unhappiness with Baudelaire's persistent comments about "melancholy" and "feverishness".
Baudelaire had no formal musical training, and knew little of composers beyond Beethoven and Carl Maria von Weber. Weber was in some ways Wagner's precursor, using the leitmotif and conceiving the idea of the "total art work" ("Gesamtkunstwerk"), both of which gained Baudelaire's admiration. Before even hearing Wagner's music, Baudelaire studied reviews and essays about him, and formulated his impressions. Later, Baudelaire put them into his non-technical analysis of Wagner, which was highly regarded, particularly his essay "Richard Wagner et Tannhäuser à Paris". Baudelaire's reaction to music was passionate and psychological. "Music engulfs (possesses) me like the sea." After attending three Wagner concerts in Paris in 1860, Baudelaire wrote to the composer: "I had a feeling of pride and joy in understanding, in being possessed, in being overwhelmed, a truly sensual pleasure like that of rising in the air." Baudelaire's writings contributed to the elevation of Wagner and to the cult of Wagnerism that swept Europe in the following decades.
Gautier, writer and poet, earned Baudelaire's respect for his perfection of form and his mastery of language, though Baudelaire thought he lacked deeper emotion and spirituality. Both strove to express the artist's inner vision, which Heinrich Heine had earlier stated: "In artistic matters, I am a supernaturalist. I believe that the artist can not find all his forms in nature, but that the most remarkable are revealed to him in his soul." Gautier's frequent meditations on death and the horror of life are themes which influenced Baudelaire writings. In gratitude for their friendship and commonality of vision, Baudelaire dedicated Les Fleurs du mal to Gautier.
Manet and Baudelaire became constant companions from around 1855. In the early 1860s, Baudelaire accompanied Manet on daily sketching trips and often met him socially. Manet also lent Baudelaire money and looked after his affairs, particularly when Baudelaire went to Belgium. Baudelaire encouraged Manet to strike out on his own path and not succumb to criticism. "Manet has great talent, a talent which will stand the test of time. But he has a weak character. He seems to me crushed and stunned by shock." In his painting Music in the Tuileries, Manet includes portraits of his friends Théophile Gautier, Jacques Offenbach, and Baudelaire. While it's difficult to differentiate who influenced whom, both Manet and Baudelaire discussed and expressed some common themes through their respective arts. Baudelaire praised the modernity of Manet's subject matter: "almost all our originality comes from the stamp that 'time' imprints upon our feelings." When Manet's famous Olympia (1863), a portrait of a nude prostitute, provoked a scandal for its blatant realism mixed with an imitation of Renaissance motifs, Baudelaire worked privately to support his friend, though he offered no public defense (he was, however, ill at the time). When Baudelaire returned from Belgium after his stroke, Manet and his wife were frequent visitors at the nursing home and she would play passages from Wagner for Baudelaire on the piano.
Nadar (Félix Tournachon) was a noted caricaturist, scientist and important early photographer. Baudelaire admired Nadar, one of his closest friends, and wrote: "Nadar is the most amazing manifestation of vitality." They moved in similar circles and Baudelaire made many social connections through him. Nadar's ex-mistress Jeanne Duval became Baudelaire's mistress around 1842. Baudelaire became interested in photography in the 1850s and, denouncing it as an art form, advocated its return to "its real purpose, which is that of being the servant to the sciences and arts". Photography should not, according to Baudelaire, encroach upon "the domain of the impalpable and the imaginary". Nadar remained a stalwart friend right to Baudelaire's last days and wrote his obituary notice in Le Figaro.