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His Masterpiece, sometimes translated as “The Work” or “The Masterpiece,” is Zola’s 14th entry in his Rougon-Macquart series of novels. In it we see Claude Lantier, a painter with obvious talent, struggle to leave a revolutionary mark on the art world of 19th-century Paris. The novel deftly explores the themes of genius, poverty, purity in art, art as a bureaucratic institution, obsession, and madness. The book is notable not just for its accurate portrayal of the art world of the time, but also for the interesting personal details Zola incorporated into the book. Lantier is a pastiche of several famous painters Zola personally knew, including Paul Cézanne, Claude Monet, and Édouard Manet; Lantier’s masterpiece is based on Manet’s revolutionary painting Le Déjeuner sur l’herbe; and the novel’s accuracy is even blamed on ending the long friendship between Zola and Cézanne. Zola himself includes a self-portrait, as the character Pierre Sandoz. Vizetelly’s translation is fresh and readable, and Zola’s rendition of Paris and the surrounding countryside is vibrant and engrossing. Rarely do we get such a close and engaging window into bohemian life in old Paris. This book is part of the Standard Ebooks project, which produces free public domain ebooks.
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The Masterpiece is the tragic story of Claude Lantier, an ambitious and talented young artist who has come from the provinces to conquer Paris but is conquered instead by the flaws of his own genius. Set in the 1860s and 1870s, it is the most autobiographical of the twenty novels in Zola's Rougon-Macquart series. It provides a unique insight into Zola's career as a writer and his relationship with Cezanne, a friend since their schooldays in Aix-en-Provence. It also presents a well-documented account of the turbulent Bohemian world in which the Impressionists came to prominence despite the conservatism of the Academy and the ridicule of the general public.
"HIS MASTERPIECE,‟ which in the original French bears the title of L'Oeuvre, is a strikingly accurate story of artistic life in Paris during the latter years of the Second Empire. Amusing at times, extremely pathetic and even painful at others, it not only contributes a necessary element to the Rougon-Macquart series of novels-a series illustrative of all phases of life in France within certain dates-but it also represents a particular period of M. Zola‟s own career and work. Some years, indeed, before the latter had made him-self known at all widely as a novelist, he had acquired among Parisian painters and sculptors considerable notorie-ty as a revolutionary art critic, a fervent champion of that "Open-air‟ school which came into being during the Second Empire, and which found its first real master in Edouard Manet, whose then derided works are regarded, in these later days, as masterpieces.
L'OEuvre ('The Work' - often published in English under the title 'His Masterpiece') is the fourteenth novel in the Rougon-Macquart series by Emile Zola. The work in question is a work of art, with the main character, Claude Lantier trying to painta work of art that truly reflects his genius. The book is a fictional account of the author's actual friendship with French artist Paul Cézanne, and the story portrays the art world in Paris in the middle of the 19th century. Cézanne wasn't that impressed with the book though, and it is said that it caused the end of their friendship.
His MasterpieceBy Emile ZolaTranslated by Mary J Serrano'HIS MASTERPIECE,' which in the original French bears the title of L'Oeuvre, is a strikingly accurate story of artistic life in Paris during the latter years of the Second Empire. Amusing at times, extremely pathetic and even painful at others, it not only contributes a necessary element to the Rougon-Macquart series of novels-a series illustrative of all phases of life in France within certain dates-but it also represents a particular period of M. Zola's own career and work. Some years, indeed, before the latter had made himself known at all widely as a novelist, he had acquired among Parisian painters and sculptors considerable notoriety as a revolutionary art critic, a fervent champion of that 'Open-air' school which came into being during the Second Empire, and which found its first real master in Edouard Manet, whose then derided works are regarded, in these later days, as masterpieces. Manet died before his genius was fully recognised; still he lived long enough to reap some measure of recognition and to see his influence triumph in more than one respect among his brother artists. Indeed, few if any painters left a stronger mark on the art of the second half of the nineteenth century than he did, even though the school, which he suggested rather than established, lapsed largely into mere impressionism-a term, by the way, which he himself coined already in 1858; for it is an error to attribute it-as is often done-to his friend and junior, Claude Monet.