Project Gutenberg · 58, free ebooks · by Honoré de Balzac. The Unknown Masterpiece by Honoré de Balzac. No cover available. The Unknown Masterpiece. [Le Chef-d’oeuvre inconnu]. Honoré de Balzac. Translated by Ellen Marriage. First published in This web edition published by. THE UNKNOWN MASTERPIECE (Gillette)by Honoré de Balzac, Given the sprawling abundance of La Comédie humaine, one does not immediately think.

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Porbus suggests Gillette as a model just as Poussin and Gillette arrive, still arguing about whether offering her around as a model means that Poussin doesn’t love Gillette.

Refresh and try again. What stake do they have?

What if they end up wasting their lives for nothing? Creation and possession, and the limitations and impossibilities in these. When it is finally revealed, it appears to be a dark canvas of little in the way of discernible objects except for a tiny foot at one corner.

The Unknown Masterpiece

Learn more about citation styles Citation styles Encyclopedia. Catherine Lescault Porbus goes to visit Frenhofer at masterpiecr studio several months after the action of the First Part.

The same is with any art. Balzc “The Unknown Masterpiece,” however, we are challenged and delighted not by a work of immense scale but by a novella both stringent in design and resonant of meaning. And the location is, as we can expect, Paris. I admire you, yet you horrify me.

The Unknown Masterpiece by Honoré de Balzac « La Comedie Humaine by Balzac

Sono trasaliti loro, sono trasalita io, lo farete anche voi. Coming closer, they discerned, honor one corner of the canvas, the tip of nasterpiece bare foot emerging from this chaos of colors, shapes, and vague shadings, a kind of incoherent mist; but a delightful foot, a living foot!


Se fosse un quadro, per esempio. Thank you to Lisa for writing about this short but profound story. Modern Language Association http: Before and during his career as a writer, he attempted to be a publisher, printer, businessman, critic, and politician. I’m not the best judge of short stories since they’re really not my thing.

The first section was now headed “Gillette. Read it for yourself and see what you think.

Les fruits de l’amour passent vite, ceux de l’art sont immortels. Want to Read Currently Reading Read. This is the kind of paradox that you only get from people like Balzac, whose greatness is due entirely to his being willing to write constantly, whether he has anything to say or not. Inanimate objects are imbued with character as well; the city of Paris, a backdrop for much of his writing, takes on many human qualities.

Nov 20, Chris rated it liked it Shelves: I am not trained to read French, but I really enjoyed Richard Howard’s translation. It can also be read as a prophetic fable of modern art or as a variation on the Faustian myth of the absolute pursued to the point of self-destruction.

October 31, at 3: So, as artists, we must r I must say that I greatly enjoyed Balzac’s exploration of the idea that in art, it is not enough to simply copy reality.


It seemed to be about the power of the act of art as even greater than the product. Is it a good gamble on their part? Byatt’s Portraits in Fiction has a breakdown and interpretation of this story that says it all except that I found Frenhofer’s ‘lectures’ a bit boring, like, well, lectures.

After the dinner, Poussin returns home and tries to convince his mistress Gillette to pose nude for Frenhofer.

Frenhofer is a purely fictional character. Picasso was fascinated by the text and identified with Frenhofer so much that he moved to the rue des Unknlwn in Paris where Balzac located Porbus’ studio. Among such fragile sentiments, none so resembles love as a youthful passion of a artist first suffering that delicious torture which will be his destiny of glory and of woe, a passion brimming with boldness and fear, vague hopes and inevitable frustrations.


The Unknown Masterpiece (Gillette) by Honoré de Balzac, |

From Balzac’s description it’s a work of abstract art painted in the 17th century, but to Frenhofer’s chagrin remember, he’s ve working on this for 10 years! Luckily I speak this language. The relation between money and art, between creation and destruction, and between love and art are examined in complex patterns of antithesis and synthesis.