Enter the mind of French literary giant Honoré de Balzac through a study of nine of his greatest characters and the novels they inhabit. Balzac's Lives illuminates the writer's life, era, and work in a completely original way. Balzac, more than anyone, invented the nineteenth-century novel, and Oscar Wilde went so far as to say that Balzac had invented the nineteenth century. But it was above all through the wonderful, unforgettable, extravagant characters that Balzac dreamed up and made flesh—entrepreneurs, bankers, inventors, industrialists, poets, artists, bohemians of both sexes, journalists, aristocrats, politicians, prostitutes—that he brought to life the dynamic forces of an era that ushered in our own. Peter Brooks’s Balzac’s Lives is a vivid and searching portrait of a great novelist as revealed through the fictional lives he imagined.

Texts about paintings, painters and sculptors are obvious test cases for issues of representation. A significant corpus of artist stories is scattered through Honore de Balzac's Commedie humaine which, from Marx to Lukacs to Roland Barthes's enormously influential S/Z (1970), has been a key literary work for critical debates around French realism. In a series of close readings, Diana Knight explores Barthes's 'model of painting' - the metaphorical code of painting and sculpture that underpins realist discourse - in the context of Balzac's fictional representations of the relation between artists, their models and their works of art. Whereas critics have tended to denounce Balzac's realist aesthetic as complicit with the misogyny of the society he portrays, Balzac and the Model of Painting takes the artist-model relationship, variously gendered in these stories, as the focus of the author's powerful realist critique of the sexual politics of prostitution and marriage in nineteenth-century France.

Saumur, the setting for Eugenie Grandet (1833), one of the earliest and most famous novels in Balzac's great Comedie humaine. The Grandet household, oppressed by the exacting miserliness of Grandet himself, is jerked violently out of routine by the sudden arrival of Eugenie's cousin Charles, recently orphaned and penniless. Eugenie's emotional awakening, stimulated by her love for her cousin, brings her into direct conflict with her father, whose cunning and financial success are matched against her determination to rebel. Eugenie's moving story is set against the backdrop of provincial oppression, the vicissitudes of the wine trade, and the workings of the financial system in the aftermath of the French Revolution. It is both a poignant portrayal of private life and a vigorous fictional document of its age. Book jacket.

Reproduction of the original: Vautrin by Honore de Balzac