Editing Charles Baudelaire (section)

===Édouard Manet===

[[File:Edouard Manet - Manet-98302 - Charles Baudelaire (1865).jpg|thumb|{{lang|fr|Charles Baudelaire, de face}} (1869 print of 1865 etching) by [[Édouard Manet]] ]]

[[Édouard Manet|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."<ref>Hyslop (1980), p. 55.</ref> In his painting ''[[Music in the Tuileries]]'', Manet includes portraits of his friends [[Théophile Gautier]], [[Jacques Offenbach]], and Baudelaire.<ref>{{cite web|title=Music in the Tuileries Gardens|publisher=[[National Gallery (London)|The National Gallery]]|url=http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/work?workNumber=ng3260|access-date=13 July 2008}}</ref> 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."<ref>Hyslop (1980), p. 53.</ref> When Manet's famous ''[[Olympia (painting)|Olympia]]'' (1865), a portrait of a nude prostitute, provoked a scandal for its blatant realism mixed with an imitation of [[Sleeping Venus (Giorgione)|Renaissance motifs]], Baudelaire worked privately to support his friend, though he offered no public defense (he was 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 played passages from Wagner for Baudelaire on the piano.<ref>Hyslop (1980), p. 51.</ref>