Abstract
Recent studies of the reception and collection of pre-Revolutionary art in nineteenth-century France have centered on real-life historical examples and individuals such as the celebrated collector Louis La Caze. But what can the destiny of a fictional art collection tell us about the metamorphoses of the mid-nineteenth-century Parisian art market and the very essence and nature of collecting? Honoré de Balzac was an author with his own pretensions to be a great collector and this essay focuses on the complex and often contradictory representation of the art collection in Le Cousin Pons (1847)—one of the last works of La Comédie humaine to be published before the novelist’s death in August 1850.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
