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Charles Baudelaire could be said to be the father of avant-garde modernity. By avant-garde modernity is meant: “the popular realization of the will of the masses, a will that is represented as art". Art now is said to belong to the masses, it no longer belongs to the elites. It is the masses that have seized the art world. The elites have thus gone through a process of deconstruction. From henceforth there is no going back into history. One has to embrace the masses in order to understand, if not art per se, then at least modem art But for Baudelaire art represents principally madness. His poem ‘The Flowers of Evil' talks of the insanity of the human condition, insanity where the masses are depicted in its most vulgar manner. If classical and romantic art had religious idioms, modem art used anti-religious symbols. If in the former, purity and chastity were symbolized in the form of the Virgin figure, in modem art it is the flaneur the prostitute and the ragpicker - who come into the centre stage of the art world. Popular art, like popular philosophy, aims that this philosophy of the 'popular' has to seize the masses. Then art becomes "a material weapon". The signature tune of modem art is no longer 'good art but 'mass art’, no longer necessity but freedom. The march-past of human history is carried out on the legs of human freedom.
But the genre of popular art and popular philosophy has not to be confused with populism. Populism does not have to be confused with aesthetics as neither the ideas of the 'good' and the 'beautiful'- ideas central to classical art - or the art and science of 'sensations' - the Idea central to any art form - enters into its domain. Aesthetics, after all, is the art of arousing sensations. Indian art calls this 'rasa', loosely translated as 'taste'. Ananda Coomaraswamy, the famous art historian, disagreed with this identification of art with aesthetics, as he understood the latter to be a materialist and the former to be an idealist in nature.
Modem art, as is modem philosophy, or the modem world itself, is rigorously distinct not only from the traditional life-world but also distinct from the classical world. In modernity, art is not measured in terms of the 'good' and the 'beautiful' (Plato is the best representative of the classical writer) but in terms of the arousal of sensations and the affirmation of individualism. The individual is depicted to have broken free from all fetters of community-based social restraints. That is why the bohemian or the artistic representation of the plebeian is so important in modernity.
The difference between the traditional world and the modem world is based on the distinction between a God-centric world and a human-centric world, a world that recalls Nietzsche's dictum: “God is dead". The bohemian does not require God, in fact, God is a fetter for the development of the plebeian. In Nietzsche's ‘The Science of Happiness' a mad man with a lantern is portrayed rushing into the streets and shouting "Where is God! Where is God!" The people assembled at the market place - where the people are the bohemians - burst out laughing and ask the mad man where God has gone. "Has God immigrated to a foreign land?" or "has God run away somewhere?" the bohemians ask the mad man. And then the mad man looks at the crowd and says, "I shall tell you. God is dead! We have killed him".
Now for the bohemian, the theme of the death of God is of central importance. In the Italian opera 'La Boheme', the composer Puccini, portrays a poet, a painter and a singer burning their works of art in order to get some warmth from the fire. If God is dead, for the bohemian, then so too is art. But that does not mean that art is nonsense. What is meant is that there can be nothing called 'autonomous art' or 'art for the sake of art. On the contrary, art is said to pass over to life itself.