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Edouard Manet's "Masked Ball at the Opera" (1873) shares formal and thematic relationships with Charles Baudelaire's poetry and art criticism. Although previous studies reveal visual sources for Manet's painting, here we reveal that Baudelaire's poetry was the textual paradigm for Manet's "Masked Ball." Women are studied alongside Baudelaire's poems and his essay "The Painter of Modern Life." Also examined are the ways in which Haussmannization presented new problems and opportunities for the artist-as-flaneur. Baudelaire's poem "The Crowds" corresponds to Manet's painting in that both use...