Be Specific About About Books La Obra Maestra Desconocida (La Comédie Humaine #71)
| Title | : | La Obra Maestra Desconocida (La Comédie Humaine #71) |
| Author | : | Honoré de Balzac |
| Book Format | : | Paperback |
| Book Edition | : | Anniversary Edition |
| Pages | : | Pages: 57 pages |
| Published | : | 2001 by Visor (first published August 1831) |
| Categories | : | Fiction. Classics. Art. Cultural. France. Literature. European Literature. French Literature. 19th Century |
Honoré de Balzac
Paperback | Pages: 57 pages Rating: 3.86 | 2734 Users | 207 Reviews
Commentary Supposing Books La Obra Maestra Desconocida (La Comédie Humaine #71)
A New York Review Books Original One of Honore de Balzac's most celebrated tales, "The Unknown Masterpiece" is the story of a painter who, depending on one's perspective, is either an abject failure or a transcendental genius--or both. The story, which has served as an inspiration to artists as various as Cezanne, Henry James, Picasso, and New Wave director Jacques Rivette, is, in critic Dore Ashton's words, a "fable of modern art." Published here in a new translation by poet Richard Howard, "The Unknown Masterpiece" appears, as Balzac intended, with "Gambara," a grotesque and tragic novella about a musician undone by his dreams.Discurso artístico #5Point Books Conducive To La Obra Maestra Desconocida (La Comédie Humaine #71)
| Original Title: | Le Chef-d'œuvre inconnu |
| ISBN: | 8475220002 (ISBN13: 9788475220000) |
| Edition Language: | Spanish |
| Series: | La Comédie Humaine #71, Études philosophiques |
| Characters: | Nicolas Poussin |
Rating About Books La Obra Maestra Desconocida (La Comédie Humaine #71)
Ratings: 3.86 From 2734 Users | 207 ReviewsEvaluate About Books La Obra Maestra Desconocida (La Comédie Humaine #71)
In the "The Unfinished Masterpiece" Balzac takes up the age-old debate about where nature ends and art begins. He does so, not surprisingly, through the most classic medium: the nude female form. Or, more precisely, he enters the debate of art versus nature by writing about the painting of the nude female form. This in itself -- before I considered the plot or the style or the significance of the short story -- already had me thinking of Etienne Gilson's argument that "true painters know fullTwo short stories, written five years apart, that both explore artists pushing the boundaries of their chosen mediums. Balzac makes these stories about so much more; vanity, love, ego and eros. The second story, Gambara, suffers a from several very long passages in which entire operas are re-told in mind-numbing detail, but the title story is a gem.
This short story supports itself on an intuition: the acute observation of a thin particular about the artistic process. And it obsesses me.Balzac achieves to focus a peculiar detail lurking in the mind of every maker. When the will of creating something more and more perfect drives its author into a spiral of neverending refinements.Feeling like his abilities and knowledge aren't enough, and will never be, as if unless you know it all, the truth behind the beauty will never show up (since
This is one of Balzacs little jewels.From the very start Balzac sets its date and location. We are in 1612, in the early Regency of Maria de Medici, since only a couple of years had elapsed from the assassination of her husband and King Henri IV. Their son Louis XIII was then only eight years old. And the location is, as we can expect, Paris. But not just any place in Paris. We are in the Rue des Grands-Augustins, which is a perpendicular to the Boulevard of the same name which runs parallel to
Hé! Hé! Malgré le malheur des temps, nous causerons peinture!One of those unforgettable, perfect stories on the purpose of art and literature!Written by the master storyteller Balzac in the first half of the 19th century, recapturing a century of wild debates on the question: What is art? And what is the role of the artist?, it somehow offers a conclusion to the classical era and prophetically opens up the discussion that will dominate the century to come: should an artist be a Pygmalion, trying
14 October 2012This is the first I've read of Honore de Balzac, and I was not in the least disappointed. More poetry than prose, the writing was among the finest I've ever read, reminding me at times of Tolstoy or Dostoevsky and at other times of Djuna Barnes (whom T.S. Eliot said one must be trained in understanding poetry in order to fully appreciate). It was so easy to get lost in the detailed descriptions and the dialogue between the characters that I finished the relatively short book in
I am yet to discover a story that deals with artistic obsession so overtly and dramatically. The masterpiece at the center is a teasing device used by Balzac to play with the idea of perception, and to ultimately question the many interpretations of the "ideal" an artist aspires to. There is a lore that the house in Paris where this story is set was purchased by Picasso because he saw a parallel of himself in the central character. It is not unbelievable if you think about it. The old painter
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