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Les Rougon-Macquart #14
韦慰 未畏渭喂慰蠉蟻纬畏渭伪
螚 喂蟽蟿慰蟻委伪 蔚谓蠈蟼 谓苇慰蠀 魏伪喂 蠁喂位蠈未慰尉慰蠀 魏伪位位喂蟿苇蠂谓畏, 蟽蟿慰 螤伪蟻委蟽喂 蟿慰蠀 19慰蠀 伪喂蠋谓伪 蟺慰蠀 伪谓伪味畏蟿维 蟿慰谓 苇蟻蠅蟿伪 魏伪喂 蟿畏谓 苇渭蟺谓蔚蠀蟽畏 渭蔚 伪蟺蠋蟿蔚蟻慰 蟽魏慰蟺蠈 蟿畏谓 未畏渭喂慰蠀蟻纬委伪 蔚谓蠈蟼 伪胃维谓伪蟿慰蠀 伪蟻喂蟽蟿慰蠀蟻纬萎渭伪蟿慰蟼.
韦慰 "螖畏渭喂慰蠉蚁纬畏渭伪" 胃蔚蠅蟻蔚委蟿伪喂 蟿慰 蟽蟺慰蠀未伪喂蠈蟿蔚蟻慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺慰蠀 苇蠂蔚喂 纬蟻伪蠁蟿蔚委 渭苇蠂蟻喂 蟽蟿喂纬渭萎蟼 渭蔚 胃苇渭伪 蟿畏 味蠅纬蟻伪蠁喂魏萎. 螘魏未蠈胃畏魏蔚 蟿慰 1886 魏伪喂 蟽蠀谓维谓蟿畏蟽蔚 伪谓蟿喂未蟻维蟽蔚喂蟼 伪蟺蠈 魏蟻喂蟿喂魏慰蠉蟼 伪位位维 魏伪喂 伪蟺蠈 味蠅纬蟻维蠁慰蠀蟼. 螣喂 蟿蔚位蔚蠀蟿伪委慰喂, 蠈蟺蠅蟼 纬喂伪 蟺伪蟻维未蔚喂纬渭伪 慰 螠慰谓苇, 伪谓伪纬谓蠅蟻委味慰谓蟿伪蟼 蟽蟿慰喂蠂蔚委伪 蟿慰蠀 蔚伪蠀蟿慰蠉 蟿慰蠀蟼, 苇谓喂蠅蟽伪谓 伪未蠀谓伪渭委伪 渭蟺蟻慰蟽蟿维 蟽蟿畏谓 伪蟺慰蟿蠀蠂委伪 蟿慰蠀 螝位蠅谓蟿 魏伪喂 魏伪蟿' 蔚蟺苇魏蟿伪蟽畏 蟿慰蠀 魏喂谓萎渭伪蟿慰蟼 蟺慰蠀 蔚魏蟺蟻慰蟽蠅蟺慰蠉蟽蔚. 危蔚 伪谓蟿委胃蔚蟽畏 渭蔚 蟿慰谓 螠慰谓苇, 慰 危蔚味维谓, 蟺慰蠀 伪蟺慰蟿蔚位蔚委 魏伪喂 蟿慰 魏蠉蟻喂慰 蟺蟻蠈蟽蠅蟺慰 苇渭蟺谓蔚蠀蟽畏蟼, 未蔚谓 伪谓伪纬谓蠅蟻委味蔚喂 蟿委蟺慰蟿蔚, 蟺伪蟻维 蟿喂蟼 蟽伪蠁蔚委蟼 伪谓伪蠁慰蟻苇蟼 蟽蟿畏 蠁喂位委伪 蟿蠅谓 蟺伪喂未喂魏蠋谓 蟿慰蠀 蠂蟻蠈谓蠅谓 渭蔚 蟿慰谓 螙慰位维 蟽蟿畏 螡蠈蟿喂伪 螕伪位位喂伪.
螚 未蟻维蟽畏 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼 蔚魏蟿蠀位委蟽蟽蔚蟿伪喂 渭苇蟽伪 蟽蔚 未蔚魏伪蟿蟻委伪 蠂蟻蠈谓喂伪, 伪蟺蠈 蟿慰 1863 苇蠅蟼 蟿慰 1876. 危蠀谓蔚蟺蠋蟼 慰 螙慰位维 伪谓伪蠁苇蟻蔚蟿伪喂 维渭蔚蟽伪 蟽蟿畏谓 蔚蟺慰蠂萎 蟿慰蠀, 渭蔚 蟿喂蟼 蠈蟺慰喂蔚蟼 蟽蠀谓苇蟺蔚喂蔚蟼 渭蟺慰蟻蔚委 谓伪 苇蠂蔚喂 魏维蟿喂 蟿苇蟿慰喂慰. 螆谓胃蔚蟻渭慰蟼 蠀蟺慰蟽蟿畏蟻喂魏蟿萎蟼 蟿蠅谓 蠀蟺伪喂胃蟻喂蟽蟿蠋谓 (伪蟻蠂喂魏萎 慰谓慰渭伪蟽委伪 蟿蠅谓 蔚渭蟺蟻蔚蟽喂慰谓喂蟽蟿蠋谓), 苇蟻蠂蔚蟿伪喂 伪蟻纬蠈蟿蔚蟻伪 蟽蔚 伪谓蟿喂蟺伪蟻维胃蔚蟽畏 渭伪味委 蟿慰蠀蟼, 伪蟺慰纬慰畏蟿蔚蠀渭苇谓慰蟼 魏蠀蟻委蠅蟼 伪蟺蠈 蟿畏谓 蔚渭渭慰谓萎 蟿慰蠀蟼 蟽蟿畏谓 伪谓维位蠀蟽畏 蟿慰蠀 蠂蟻蠋渭伪蟿慰蟼 魏伪喂 伪蟺蠈 蟿畏谓 伪未蠀谓伪渭委伪 蔚蟺喂位慰纬萎蟼 蟿蠅谓 胃蔚渭维蟿蠅谓. 螣 谓伪蟿慰蠀蟻伪位喂蟽渭蠈蟼 未蔚谓 蟺蔚蟻谓维蔚喂 蟽蟿畏 味蠅纬蟻伪蠁喂魏萎 蠈蟺蠅蟼 蟽蟿畏 位慰纬慰蟿蔚蠂谓委伪, 畏 蠁蠉蟽畏 未蔚谓 伪蟺慰魏蟿维 蟽维蟻魏伪, 魏伪喂 魏维蟺慰喂慰喂 蔚渭蟺蟻蔚蟽喂慰谓喂蟽蟿苇蟼 蔚喂蟽维纬慰蠀谓 蟽蠉渭尾慰位伪 渭苇蟽伪 蟽蟿慰蠀蟼 蟺委谓伪魏苇蟼 蟿慰蠀蟼.
韦慰 "螖畏渭喂慰蠉蚁纬畏渭伪" 胃蔚蠅蟻蔚委蟿伪喂 蟿慰 蟽蟺慰蠀未伪喂蠈蟿蔚蟻慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺慰蠀 苇蠂蔚喂 纬蟻伪蠁蟿蔚委 渭苇蠂蟻喂 蟽蟿喂纬渭萎蟼 渭蔚 胃苇渭伪 蟿畏 味蠅纬蟻伪蠁喂魏萎. 螘魏未蠈胃畏魏蔚 蟿慰 1886 魏伪喂 蟽蠀谓维谓蟿畏蟽蔚 伪谓蟿喂未蟻维蟽蔚喂蟼 伪蟺蠈 魏蟻喂蟿喂魏慰蠉蟼 伪位位维 魏伪喂 伪蟺蠈 味蠅纬蟻维蠁慰蠀蟼. 螣喂 蟿蔚位蔚蠀蟿伪委慰喂, 蠈蟺蠅蟼 纬喂伪 蟺伪蟻维未蔚喂纬渭伪 慰 螠慰谓苇, 伪谓伪纬谓蠅蟻委味慰谓蟿伪蟼 蟽蟿慰喂蠂蔚委伪 蟿慰蠀 蔚伪蠀蟿慰蠉 蟿慰蠀蟼, 苇谓喂蠅蟽伪谓 伪未蠀谓伪渭委伪 渭蟺蟻慰蟽蟿维 蟽蟿畏谓 伪蟺慰蟿蠀蠂委伪 蟿慰蠀 螝位蠅谓蟿 魏伪喂 魏伪蟿' 蔚蟺苇魏蟿伪蟽畏 蟿慰蠀 魏喂谓萎渭伪蟿慰蟼 蟺慰蠀 蔚魏蟺蟻慰蟽蠅蟺慰蠉蟽蔚. 危蔚 伪谓蟿委胃蔚蟽畏 渭蔚 蟿慰谓 螠慰谓苇, 慰 危蔚味维谓, 蟺慰蠀 伪蟺慰蟿蔚位蔚委 魏伪喂 蟿慰 魏蠉蟻喂慰 蟺蟻蠈蟽蠅蟺慰 苇渭蟺谓蔚蠀蟽畏蟼, 未蔚谓 伪谓伪纬谓蠅蟻委味蔚喂 蟿委蟺慰蟿蔚, 蟺伪蟻维 蟿喂蟼 蟽伪蠁蔚委蟼 伪谓伪蠁慰蟻苇蟼 蟽蟿畏 蠁喂位委伪 蟿蠅谓 蟺伪喂未喂魏蠋谓 蟿慰蠀 蠂蟻蠈谓蠅谓 渭蔚 蟿慰谓 螙慰位维 蟽蟿畏 螡蠈蟿喂伪 螕伪位位喂伪.
螚 未蟻维蟽畏 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼 蔚魏蟿蠀位委蟽蟽蔚蟿伪喂 渭苇蟽伪 蟽蔚 未蔚魏伪蟿蟻委伪 蠂蟻蠈谓喂伪, 伪蟺蠈 蟿慰 1863 苇蠅蟼 蟿慰 1876. 危蠀谓蔚蟺蠋蟼 慰 螙慰位维 伪谓伪蠁苇蟻蔚蟿伪喂 维渭蔚蟽伪 蟽蟿畏谓 蔚蟺慰蠂萎 蟿慰蠀, 渭蔚 蟿喂蟼 蠈蟺慰喂蔚蟼 蟽蠀谓苇蟺蔚喂蔚蟼 渭蟺慰蟻蔚委 谓伪 苇蠂蔚喂 魏维蟿喂 蟿苇蟿慰喂慰. 螆谓胃蔚蟻渭慰蟼 蠀蟺慰蟽蟿畏蟻喂魏蟿萎蟼 蟿蠅谓 蠀蟺伪喂胃蟻喂蟽蟿蠋谓 (伪蟻蠂喂魏萎 慰谓慰渭伪蟽委伪 蟿蠅谓 蔚渭蟺蟻蔚蟽喂慰谓喂蟽蟿蠋谓), 苇蟻蠂蔚蟿伪喂 伪蟻纬蠈蟿蔚蟻伪 蟽蔚 伪谓蟿喂蟺伪蟻维胃蔚蟽畏 渭伪味委 蟿慰蠀蟼, 伪蟺慰纬慰畏蟿蔚蠀渭苇谓慰蟼 魏蠀蟻委蠅蟼 伪蟺蠈 蟿畏谓 蔚渭渭慰谓萎 蟿慰蠀蟼 蟽蟿畏谓 伪谓维位蠀蟽畏 蟿慰蠀 蠂蟻蠋渭伪蟿慰蟼 魏伪喂 伪蟺蠈 蟿畏谓 伪未蠀谓伪渭委伪 蔚蟺喂位慰纬萎蟼 蟿蠅谓 胃蔚渭维蟿蠅谓. 螣 谓伪蟿慰蠀蟻伪位喂蟽渭蠈蟼 未蔚谓 蟺蔚蟻谓维蔚喂 蟽蟿畏 味蠅纬蟻伪蠁喂魏萎 蠈蟺蠅蟼 蟽蟿畏 位慰纬慰蟿蔚蠂谓委伪, 畏 蠁蠉蟽畏 未蔚谓 伪蟺慰魏蟿维 蟽维蟻魏伪, 魏伪喂 魏维蟺慰喂慰喂 蔚渭蟺蟻蔚蟽喂慰谓喂蟽蟿苇蟼 蔚喂蟽维纬慰蠀谓 蟽蠉渭尾慰位伪 渭苇蟽伪 蟽蟿慰蠀蟼 蟺委谓伪魏苇蟼 蟿慰蠀蟼.
507 pages, Hardcover
First published January 1, 1886
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7,367 people want to read
About the author
脡mile Zola
2,688听books4,228听followers脡mile Fran莽ois Zola was an influential French novelist, the most important example of the literary school of naturalism, and a major figure in the political liberalization of France.
More than half of Zola's novels were part of a set of 20 books collectively known as Les Rougon-Macquart. Unlike Balzac who in the midst of his literary career resynthesized his work into La Com茅die Humaine, Zola from the start at the age of 28 had thought of the complete layout of the series. Set in France's Second Empire, the series traces the "environmental" influences of violence, alcohol and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of a family: the respectable (that is, legitimate) Rougons and the disreputable (illegitimate) Macquarts for five generations.
As he described his plans for the series, "I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world."
Although Zola and C茅zanne were friends from childhood, they broke in later life over Zola's fictionalized depiction of C茅zanne and the Bohemian life of painters in his novel 尝'艗耻惫谤别 (The Masterpiece, 1886).
From 1877 with the publication of L'Assommoir, 脡mile Zola became wealthy, he was better paid than Victor Hugo, for example. He became a figurehead among the literary bourgeoisie and organized cultural dinners with Guy de Maupassant, Joris-Karl Huysmans and other writers at his luxurious villa in Medan near Paris after 1880. Germinal in 1885, then the three 'cities', Lourdes in 1894, Rome in 1896 and Paris in 1897, established Zola as a successful author.
The self-proclaimed leader of French naturalism, Zola's works inspired operas such as those of Gustave Charpentier, notably Louise in the 1890s. His works, inspired by the concepts of heredity (Claude Bernard), social manichaeism and idealistic socialism, resonate with those of Nadar, Manet and subsequently Flaubert.
More than half of Zola's novels were part of a set of 20 books collectively known as Les Rougon-Macquart. Unlike Balzac who in the midst of his literary career resynthesized his work into La Com茅die Humaine, Zola from the start at the age of 28 had thought of the complete layout of the series. Set in France's Second Empire, the series traces the "environmental" influences of violence, alcohol and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of a family: the respectable (that is, legitimate) Rougons and the disreputable (illegitimate) Macquarts for five generations.
As he described his plans for the series, "I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world."
Although Zola and C茅zanne were friends from childhood, they broke in later life over Zola's fictionalized depiction of C茅zanne and the Bohemian life of painters in his novel 尝'艗耻惫谤别 (The Masterpiece, 1886).
From 1877 with the publication of L'Assommoir, 脡mile Zola became wealthy, he was better paid than Victor Hugo, for example. He became a figurehead among the literary bourgeoisie and organized cultural dinners with Guy de Maupassant, Joris-Karl Huysmans and other writers at his luxurious villa in Medan near Paris after 1880. Germinal in 1885, then the three 'cities', Lourdes in 1894, Rome in 1896 and Paris in 1897, established Zola as a successful author.
The self-proclaimed leader of French naturalism, Zola's works inspired operas such as those of Gustave Charpentier, notably Louise in the 1890s. His works, inspired by the concepts of heredity (Claude Bernard), social manichaeism and idealistic socialism, resonate with those of Nadar, Manet and subsequently Flaubert.
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June 10, 2017
Strange how life imitates art in so many ways.
When Zola wrote his artist novel, he could look back on decades of creative pain, shared with the painters of the era, and most notably with his childhood friend Paul C茅zanne. Would Zola have been THE realist writer of his time if he hadn't attempted to describe the struggle of the emerging impressionist movement in at least one of his installments of the Rougon-Macquart series? Would he have been Zola if he hadn't succeeded in describing it in such a way that the realism of the fictional characters reminded readers of the actual people he was surrounded by?
Would C茅zanne, on the other hand, have been the sensitive, self-conscious and obsessively engaged artist if he hadn't taken the novel badly, seeing only himself and his supposed failure in the character Claude Lantier?
Somehow, Zola had to write the story of the unhappy artist and his striving for the perfect painting, and somehow C茅zanne had to respond by breaking the lifelong friendship and correspondence:
"Mon cher 脡mile,
I鈥檝e just received L鈥櫯抲vre, which you were kind enough to send me. I thank the author of the Rougon-Macquart for this kind token of remembrance, and ask him to allow me to wish him well, thinking of years gone by.
Ever yours with the feeling of time passing,
Paul C茅zanne"
However, despite time passing, both Zola and C茅zanne have stayed, and enjoy a posthumous success they may not have been able to imagine in their wildest dreams and hopes. Theirs is a heritage of literature and art in perfect companionship, showing the 19th century world in transition - from different angles and perspectives, in different colours and textures. To conquer Paris with an apple, was C茅zanne's idea, to analyse humanity with the narrow perspective of one single family in all their ugly facets, was Zola's.
They both succeeded through reiterated and passionate failures. They sacrificed everything - including friendship, and felt the pain of Claude Lantier in different ways. But they did not end like the tragic literary character, and that is the main difference between life and art. A novel or a canvas can be brought to an end, but the creators continue their struggles and failures.
The symbolic suicide of Lantier in front of his work of art clearly sets him off from real artists (with the exception of Van Gogh, maybe, whose life took on mythological dimensions after his violent end), and moves him into the realm of classical literature. His friends, the surviving characters, sum it up at the end of the novel: he dared to be consequential in his knowledge of ultimate failure regarding the pursuit of the perfect masterpiece, while they liked their bodies too much to follow through to the bitter end.
"Allons travailler", their closing remarks after Lantier's suicide, can be placed halfway between Voltaire's positive message in , celebrating private work and thrifty engagement as a means to escape the madness of the world ("Il faut cultiver notre jardin"), and Sartre's existentialist Hell in , where the last sentence: "Continuons", symbolises complete surrender and hopeless frustration. Zola's characters are not forced into their painful eternal situation like Sartre's love triangle - they choose it because they believe in the importance of their message, failure or not.
Zola's literary synthesis of the birth of the modern art movement, including elements of Monet, Manet and of course C茅zanne, is a masterpiece within his ambitious novel project, a perfect mirror of the times and ideas. And it is the dramatic nucleus for his failed friendship in real life - the point of no return, where Zola chose to be a writer more than anything else, at any cost. In that respect, he showed himself to be a Claude Lantier!
One of my favourite Zolas! Recommended!
When Zola wrote his artist novel, he could look back on decades of creative pain, shared with the painters of the era, and most notably with his childhood friend Paul C茅zanne. Would Zola have been THE realist writer of his time if he hadn't attempted to describe the struggle of the emerging impressionist movement in at least one of his installments of the Rougon-Macquart series? Would he have been Zola if he hadn't succeeded in describing it in such a way that the realism of the fictional characters reminded readers of the actual people he was surrounded by?
Would C茅zanne, on the other hand, have been the sensitive, self-conscious and obsessively engaged artist if he hadn't taken the novel badly, seeing only himself and his supposed failure in the character Claude Lantier?
Somehow, Zola had to write the story of the unhappy artist and his striving for the perfect painting, and somehow C茅zanne had to respond by breaking the lifelong friendship and correspondence:
"Mon cher 脡mile,
I鈥檝e just received L鈥櫯抲vre, which you were kind enough to send me. I thank the author of the Rougon-Macquart for this kind token of remembrance, and ask him to allow me to wish him well, thinking of years gone by.
Ever yours with the feeling of time passing,
Paul C茅zanne"
However, despite time passing, both Zola and C茅zanne have stayed, and enjoy a posthumous success they may not have been able to imagine in their wildest dreams and hopes. Theirs is a heritage of literature and art in perfect companionship, showing the 19th century world in transition - from different angles and perspectives, in different colours and textures. To conquer Paris with an apple, was C茅zanne's idea, to analyse humanity with the narrow perspective of one single family in all their ugly facets, was Zola's.
They both succeeded through reiterated and passionate failures. They sacrificed everything - including friendship, and felt the pain of Claude Lantier in different ways. But they did not end like the tragic literary character, and that is the main difference between life and art. A novel or a canvas can be brought to an end, but the creators continue their struggles and failures.
The symbolic suicide of Lantier in front of his work of art clearly sets him off from real artists (with the exception of Van Gogh, maybe, whose life took on mythological dimensions after his violent end), and moves him into the realm of classical literature. His friends, the surviving characters, sum it up at the end of the novel: he dared to be consequential in his knowledge of ultimate failure regarding the pursuit of the perfect masterpiece, while they liked their bodies too much to follow through to the bitter end.
"Allons travailler", their closing remarks after Lantier's suicide, can be placed halfway between Voltaire's positive message in , celebrating private work and thrifty engagement as a means to escape the madness of the world ("Il faut cultiver notre jardin"), and Sartre's existentialist Hell in , where the last sentence: "Continuons", symbolises complete surrender and hopeless frustration. Zola's characters are not forced into their painful eternal situation like Sartre's love triangle - they choose it because they believe in the importance of their message, failure or not.
Zola's literary synthesis of the birth of the modern art movement, including elements of Monet, Manet and of course C茅zanne, is a masterpiece within his ambitious novel project, a perfect mirror of the times and ideas. And it is the dramatic nucleus for his failed friendship in real life - the point of no return, where Zola chose to be a writer more than anything else, at any cost. In that respect, he showed himself to be a Claude Lantier!
One of my favourite Zolas! Recommended!
June 30, 2021
Goodness gracious - I inhaled this. Great characters, amazing descriptions, incredibly depressing ruminations on the perils of the creative life. The arc of it is Zola-esque, apparently - a balloon deflating in slow motion. I waited for a while to try him, and I'm already excited to read more.
January 25, 2012
You have this friend, a writer. He鈥檚 written this terrible bildungsroman about his tedious student exploits, I Want Vagina. You tell him tactfully that a 900-page, unspellchecked homage to sexual frustration doesn鈥檛 fly in the marketplace. Your friend scurries off and signs up for a Creative Writing MA at Dorset Polytechnic, taught by Vernon D. Burns. He returns, a few months later, with a new 900-page spellchecked homage to sexual frustration, I Want to Squeeze Bosoms. You arrange for him to lose his virginity so his art might progress by dialling a friendly helpline for that purpose (Callgirlz2nite). He returns a year later with a new epic, I Love Sleeping With Whores. His prose abounds in loving descriptions of thighs and calves and thighs, but lacks a greater purpose. A novel needs something more than loving exudations of prozzies to be successful (a few classics notwithstanding). Your friend trundles off. He rents a box room and starts his masterpiece, A Novel With Substance, Truth & Power. You tell him to rethink the title, but he tells you to shut up, he knows what he鈥檚 doing. So: skip twelve years, past the four breakdowns, nine marriages, one suicide attempt, to the final draft of his masterpiece. You sit down to read this dense marsh of unreadable prose, despairing at each spontaneous MUMMY that looms from the text (often LOVE ME MUMMY), and watch a sitcom instead. The message? All artists are fucked up. Some are鈥攁s they say in the US army鈥攆ucked up beyond all recognition.
Uplifting passage, spoken by the character based on Zola:
鈥淔rom the moment I start a new novel, life鈥檚 just one endless torture. The first few chapters may go fairly well and I may feel there鈥檚 still a chance to prove my worth, but that feeling soon disappears and every day I feel less and less satisfied. I begin to say the book鈥檚 no good, far inferior to my earlier ones, until I鈥檝e wrung torture out of every page, every sentence, every word, and the very commas begin to look excruciatingly ugly. Then, when it鈥檚 finished, what a relief! Not the blissful delight of the gentleman who goes into ecstasies over his own production, but the resentful relief of a porter dropping a burden that鈥檚 nearly broken his back . . . Then it starts all over again, and it鈥檒l go on starting all over again till it grinds the life out of me, and I shall end my days furious with myself for lacking talent, for not leaving behind a more finished work, a bigger pile of books, and lie on my death-bed filled with awful doubts about the task I鈥檝e done, wondering whether it was as it ought to have been, whether I ought not to have done this or that, expressing my last dying breath the wish that I might do it all over again!鈥� (p259-60)
Uplifting passage, spoken by the character based on Zola:
鈥淔rom the moment I start a new novel, life鈥檚 just one endless torture. The first few chapters may go fairly well and I may feel there鈥檚 still a chance to prove my worth, but that feeling soon disappears and every day I feel less and less satisfied. I begin to say the book鈥檚 no good, far inferior to my earlier ones, until I鈥檝e wrung torture out of every page, every sentence, every word, and the very commas begin to look excruciatingly ugly. Then, when it鈥檚 finished, what a relief! Not the blissful delight of the gentleman who goes into ecstasies over his own production, but the resentful relief of a porter dropping a burden that鈥檚 nearly broken his back . . . Then it starts all over again, and it鈥檒l go on starting all over again till it grinds the life out of me, and I shall end my days furious with myself for lacking talent, for not leaving behind a more finished work, a bigger pile of books, and lie on my death-bed filled with awful doubts about the task I鈥檝e done, wondering whether it was as it ought to have been, whether I ought not to have done this or that, expressing my last dying breath the wish that I might do it all over again!鈥� (p259-60)
February 25, 2022
丕蹖賳 讴鬲丕亘 乇賵 亘賴 丕賳丿丕夭賴鈥屰� 亘賯蹖賴鈥屰� 讴鬲丕亘鈥屬囏й� 夭賵賱丕 丿賵爻鬲 賳丿丕卮鬲賲. 丿丕爻鬲丕賳卮 禺蹖賱蹖 亘乇丕賲 噩匕丕亘 賳亘賵丿. 賵賱蹖 丕夭 禺賵賳丿賳卮 丕氐賱丕 倬卮蹖賲賵賳 賳蹖爻鬲賲.
September 11, 2020
4,75 je ne note pas mes livres de cours avant de les avoir 茅tudi茅s, mais celui ci... wow
je ne pensais vraiment pas que je serais capable d鈥檃utant l鈥檃imer, je pense que c鈥檈st maintenant mon classique pr茅f茅r茅 et je ne pensais vraiment pas possible pour moi d鈥櫭猼re autant captur茅e dans un classique comme je l鈥檃i 茅t茅 dans celui ci!
莽a serait tr猫s sinc猫rement un 5 茅toiles si ce n鈥櫭﹖ait pas pour les probl猫mes de l鈥櫭﹑oque comme la misogynie qui malgr茅 l鈥檈xcuse de la p茅riode me font grincer des dents
WOW
quelle surprise
j鈥檃i trop h芒te de l鈥櫭﹖udier 馃き
je ne pensais vraiment pas que je serais capable d鈥檃utant l鈥檃imer, je pense que c鈥檈st maintenant mon classique pr茅f茅r茅 et je ne pensais vraiment pas possible pour moi d鈥櫭猼re autant captur茅e dans un classique comme je l鈥檃i 茅t茅 dans celui ci!
莽a serait tr猫s sinc猫rement un 5 茅toiles si ce n鈥櫭﹖ait pas pour les probl猫mes de l鈥櫭﹑oque comme la misogynie qui malgr茅 l鈥檈xcuse de la p茅riode me font grincer des dents
WOW
quelle surprise
j鈥檃i trop h芒te de l鈥櫭﹖udier 馃き
September 3, 2023
Including L鈥橭euvre (The Masterpiece), I鈥檝e so far read five of the twenty-volume Rougon-Macquart series by Emile Zola (the other four being: La Curee (The Kill), L鈥橝ssommoir (The Dram Shop), Nana (Nana) and Le Ventre (The Belly of Paris)). All five are set in kaleidoscopic Paris. The period is some time during the semi-aristocratic and semi-bourgeois Second Empire epoch. I love that each of the five portrays a different and unique social and cultural aspect of the times.
In the Preface, Ernest Alfred Vizetelly tells us that Zola draws from the real life experiences of the famous French painters Paul Cezanne (Zola鈥檚 childhood friend) and Edouard Manet (whose art Zola tirelessly championed) to develop the characterization of the protagonist Claude Lantier. Sadly, this would subsequently cause Cezanne to break up his friendship with Zola.
Claude Lantier is a descendant by blood from the Macquart line and presumably suffers from hereditary mental illness.
The story follows Lantier through his initial ambitions as a young rebellious painter and his subsequent self-perceived failures, which lead to a gradual tragic descent into abject poverty and ultimate despair about life.
Cheered on by a circle of fellow artists, including his best friend and budding writer Pierre Sandoz (Zola himself), Lantier at first nurtures a megalomaniac dream of conquering the art scene of Paris one day with his new concept of 鈥渙pen air鈥� painting. He even balks with audacity at the jeers of the public on his first creative piece 鈥淚n the Open Air鈥� which he submits to the newly opened and supposedly more liberal Salon of the Rejected.
He then falls in love with a modest young woman from Clermont who adores him. The couple lives happily in the countryside for a few years before returning to Paris. As time wears on, each of his once loyal supporters has found success in varying degrees, some by unscrupulous means, and he feels left behind in face of consecutive rejections of his works by the conservative but still authoritative Old Salon. In the end, neither his beloved wife nor his most loyal friend Sandoz is able to lift him from the psychological dumps.
Zola paints the Paris art scene with equal doses of realism and romanticism, of derision and compassion, of insight and scorn. But all in all, I can feel his consuming love of the city of Paris, which is also my favorite city. In this novel as well as in L鈥橝ssommoir (The Dram Shop), he takes us on a leisurely stroll through all the boulevards and avenues in the center of Paris. In this novel, he dwells amorously on the scenery surrounding L鈥橧le de la Cite and makes it the subject of the protagonist鈥檚 last masterpiece.
People see it every day, pass before it without stopping; but it takes hold of one all the same; one鈥檚 admiration accumulates, and one fine afternoon it bursts forth. Nothing in the world can be grander; it is Paris herself, glorious in the sunlight.
In the Preface, Ernest Alfred Vizetelly tells us that Zola draws from the real life experiences of the famous French painters Paul Cezanne (Zola鈥檚 childhood friend) and Edouard Manet (whose art Zola tirelessly championed) to develop the characterization of the protagonist Claude Lantier. Sadly, this would subsequently cause Cezanne to break up his friendship with Zola.
Claude Lantier is a descendant by blood from the Macquart line and presumably suffers from hereditary mental illness.
The story follows Lantier through his initial ambitions as a young rebellious painter and his subsequent self-perceived failures, which lead to a gradual tragic descent into abject poverty and ultimate despair about life.
Cheered on by a circle of fellow artists, including his best friend and budding writer Pierre Sandoz (Zola himself), Lantier at first nurtures a megalomaniac dream of conquering the art scene of Paris one day with his new concept of 鈥渙pen air鈥� painting. He even balks with audacity at the jeers of the public on his first creative piece 鈥淚n the Open Air鈥� which he submits to the newly opened and supposedly more liberal Salon of the Rejected.
He then falls in love with a modest young woman from Clermont who adores him. The couple lives happily in the countryside for a few years before returning to Paris. As time wears on, each of his once loyal supporters has found success in varying degrees, some by unscrupulous means, and he feels left behind in face of consecutive rejections of his works by the conservative but still authoritative Old Salon. In the end, neither his beloved wife nor his most loyal friend Sandoz is able to lift him from the psychological dumps.
Zola paints the Paris art scene with equal doses of realism and romanticism, of derision and compassion, of insight and scorn. But all in all, I can feel his consuming love of the city of Paris, which is also my favorite city. In this novel as well as in L鈥橝ssommoir (The Dram Shop), he takes us on a leisurely stroll through all the boulevards and avenues in the center of Paris. In this novel, he dwells amorously on the scenery surrounding L鈥橧le de la Cite and makes it the subject of the protagonist鈥檚 last masterpiece.
People see it every day, pass before it without stopping; but it takes hold of one all the same; one鈥檚 admiration accumulates, and one fine afternoon it bursts forth. Nothing in the world can be grander; it is Paris herself, glorious in the sunlight.
August 12, 2016
'Ah! life! life! to feel it and portray it in its reality, to love it for itself, to behold in it the only real, lasting, and changing beauty, without any idiotic idea of ennobling it by mutilation. To understand that all so-called ugliness is nothing but the mark of individual character, to create real men and endow them with life, yes, that's the only way to become a god!'
Perfection is the sole intention of an artistic endeavor striving towards greatness. In this effort lies the innate desire of an artist to conquer the imaginative world of his creation. To conquer it in such a way that his creations are perfect portrayal of those ideas which his mind perceives and of those which he lives by too. Even when he realizes that perfection in reality is unattainable; it is still the only impetus that drives his passion. A passion fueled by the long coveted glory in the real world. If his passion is continuously thwarted when confronted with real world, the artist may fall into that ruinous abyss from which there is no escape - from which he doesn鈥檛 really wish to escape since for him it is only his art which matters, which is real, and everything else is inconsequential. He may rather die for his art than live for something else in the world.
'Yes, I belong to that god; he may do what he pleases with me. I should die if I no longer painted, and I prefer to paint and die of it. Besides, my will is nothing in the matter. Nothing exists beyond art; let the world burst!
L'Oeuvre or His Masterpiece from the series Rougon-Macquart by Emile Zola, set in second half of the nineteenth century Paris, is a striking rendition of the life of such an artist in the City of Light. Claude Lentier is a revolutionary painter who produces paintings after paintings only to be rejected by the Salon every year. He knows that it is because he doesn鈥檛 follow the traditional style, he would rather starve than compromise his art. Finally, the rejections take its toll on the painter who, after struggling too much, loses the very art which he wants to perfect. More he works on his paintings, more he spoils them in his zealousness. Till in the end, after losing everything, he dies for his art.
This work, which is the fourteenth book in a series of twenty volumes, is not only one part in the story of two families followed through generations by Zola but it is also a work which stands apart for its own literary merit. I haven鈥檛 read any other volume but have read somewhere that L'Assommoir and Germinal are the best in the series. Surely, L'Oeuvre has inspired me to read other volumes too.
It is well known that many of the characters of this work were drawn from real life artists. Ernest Alfred Vizetelly, in the preface to work, provides an account of various people and incidents which went into the creation of this novel; two major characters being the protagonist Claude Lantier (inspired by Cezanne and Manet) and his closest friend Sandoz (based upon Zola himself).
In the words of Alfred:
Claude Lantier, the chief character in the book, is, of course, neither Cezanne nor Manet, but from the careers of those two painters, M. Zola has borrowed many little touches and incidents. The poverty which falls to Claude's lot is taken from the life of Cezanne, for Manet was the only son of a judge and was almost wealthy鈥�.Whilst, however, Claude Lantier, the hero of L'Oeuvre, is unlike Manet in so many respects, there is a close analogy between the artistic theories and practices of the real painter and the imaginary one. Several of Claude's pictures are Manet's, slightly modified. For instance, the former's painting, 'In the Open Air,' is almost a replica of the latter's Dejeuner sur l'Herbe ('A Lunch on the Grass'), shown at the Salon of the Rejected in 1863. Again, many of the sayings put into Claude's mouth in the novel are really sayings of Manet's. And Claude's fate, at the end of the book, is virtually that of a moody young fellow who long assisted Manet in his studio.
A Lunch on the Grass by Manet.
Being a Parisian, Zola had acquired that artistic fervor which throbbed as life in the pulse of the artistic City. Owing to his friendship with painters of the time, the ideas which hence found an expression in the writing of this work by Zola are rendered akin to masterly strokes in a painting by a painter. Here the city is itself seen through the eyes of a painter as Claude walks in the streets of city looking out for an inspiration. Quoting Alfred again:
From a purely literary standpoint, the pictures of the quays and the Seine to be found in L'Oeuvre are perhaps the best bits of the book, though it is all of interest, because it is essentially a livre vecu, a work really 'lived' by its author.
The work 鈥楲ived鈥� in the sense that the thoughts and philosophical ideas occupying the minds of both Claude and Sandoz, are those of Zola himself. The exasperation felt by Claude, after being frustrated with his work, while roaming the streets of Paris, was that felt by an unemployed Zola too. His writing delves into Naturalism as well as impressionism as he illustrates the life of Claude and his paintings. His promotion of the school of 鈥淥pen-Air鈥� can be distinctly identified with the title of Claude鈥檚 first painting 鈥淚n the Open Air鈥� exhibited by the Salon of Rejected. He was an ardent admirer and supporter of Edouard Manet, the first real master of Open Air School, and had anticipated the significance of painter鈥檚 principles and methods. It is these methods and principles which he associates with Claude here.
In the voice of Sandoz, a novelist, Zola puts his own words when he expresses his views regarding the futility of extreme efforts taken by Claude at the expense of his family and his life.
'Look here, old man, I, whom you envy, perhaps, yes, I, who am beginning to get on in the world, as middle-class people say. I, who publish books and earn a little money as well, I am being killed by it all. I have often already told you this, but you don't believe me, because, as you only turn out work with a deal of trouble and cannot bring yourself to public notice, happiness in your eyes could naturally consist in producing a great deal, in being seen, and praised or slated. Well, get admitted to the next Salon, get into the thick of the battle, paint other pictures, and then tell me whether that suffices, and whether you are happy at last. Listen; work has taken up the whole of my existence. Little by little, it has robbed me of my mother, of my wife, of everything I love. It is like a germ thrown into the cranium, which feeds on the brain, finds its way into the trunk and limbs, and gnaws up the whole of the body.
As a protagonist, Claude is not a very likeable character. He fails as a painter, as a husband and even as a father. His extreme step of committing suicide doesn鈥檛 really surprise nor does it evoke anger or any pity. This according to me is the triumph of Zola as a writer. It is his straight forward style as a realist and naturalist writer which succeeds in the life like description of an artist struggling in a city where the custodians of art adhere to long accepted traditional styles and where the audience of such art follows the popular opinions tossed about by a handful of average artists.
January 17, 2023
This book is a classic of the universal literature of French expression. It always had its works translated into all the languages and still, in very little time, transformed into films and series that have been seen worldwide. This work is an excellent example of literature in the service of causes in the case of 脡douard Manet's work of 1863. In defense of this reference to Impressionists and one of the initiators of the contemporary art world, he wrote this work, in 1886, in his later life years.
April 25, 2022
I am going to read immediately another book by .
What does that say?
I cannot get enough of this author!
I love that all of his books I have read so far have a different topic, this despite that all of Les Rougon-Macquart Books are set during the Second Empire (1852-1870), when France was under the rule of Napoleon III. Picking up Zola鈥檚 books, one after another, doesn鈥檛 get boring.
This, Zola鈥檚 14th novel of Les Rougon-Macquart Books, is set in Paris over a period of about fifteen years, concluding in 1870. It is about the Bohemian art community in Paris when Impressionism was first taking hold; the characters are painters, sculptors and art dealers, authors, journalists, actresses, architects and their respective husbands, wives and children. One thing that is outstanding is Zola鈥檚 ability to make each and every one of a large cast of characters come alive. I can think of no other author that can pull this off as well as Zola does.
This is a book of in-depth character portrayal. It is about a group of friends. Two of the central characters are very close鈥擟laude Lantier and Pierre Sandoz. The former, an artist, is based primarily on Paul C茅zanne with bits of 脡douard Manet and Claude Monet thrown in too. Pierre Sandoz is modeled on the author himself. Zola and C茅zanne grew up together in Aix-en-Provence, which in Zola鈥檚 stories is referred to as the Proven莽al village of Plassans. This is Zola鈥檚 most autobiographical novel!
Zola puts you in a time and a place. You are there, I mean really, really there. His writing is descriptive, very descriptive. I do not recommend Zola鈥檚 books to those who dislike descriptive writing. He describes people, facial details such as eyebrows, texture of the skin, prominence of a jaw, the shape of a mouth, the stature, height, width and build of a body, the clothes on that body, their color, cut, flimsiness, need of repair, or maybe the number, size, shape and color of the buttons there. Do they shine or sparkle or are they dull? I sink into these details and I see that which is described before my eyes. More than just seeing, I feel the essence that a person exudes. Zola does this with people, places and situations. You are there beside a person, in a hall, on a street. You know that person, you know how that person will react, you have spent time with that person, you know their backstory. I have spent a whole paragraph in an attempt to describe Zola鈥檚 writing style. Why? Because you know better than I do what style of writing fits you. I love this writing. I am swallowed up by it. I become immersed in another time and place and the people there surrounding me.
I will give one concrete example. A struggling pointer has finally gotten one of his paintings chosen for the prestige filled exhibit at the Palais des Beaux-Arts. Getting through the selection process has been both excruciating and humiliating. He goes to the hall to see his picture. He cannot find it. Around and around he searches. The hall fills up, the crowd is dense, garments are wet and steaming, rain pounds the skylight above. When Claude Lantier, and it is him of course, finally finds his painting, it is up high on a wall, tilted, insignificant, squeezed in between other more prominent tableaux. Nobody stops and looks at his paining. It is this way for all struggling new artists. It is this way for those established artists no longer in mode. It is those paintings backed by influential friends with money and position that draw attention. Others are ignored, mocked or laughed at. And now listen, to top it all off, Claude鈥檚 painting was a painting of love, a painting of Claude鈥檚 son who has died. Readers have lived through the son鈥檚 birth and then death, the sorrow and the pain of it. Seeing that small, tilted painting thrown up high on a wall makes your heart break! Zola has given all the right details to make you care.
鈥淣aturalism is a literary movement beginning in the late nineteenth century, similar to literary realism in its rejection of Romanticism, but distinct in its embrace of determinism, detachment, scientific objectivism, and social commentary. The movement largely traces to the theories of French author 脡mile Zola.鈥� (Source: Wiki)
The above is reflected in all that one reads by Zola.
The narration by Leighton Pugh is very, very good. The narration I have given four stars. His pronunciation of French is relatively good. Speed and pacing are fine. This is a book where you want to hear the author鈥檚 words, undisturbed by the narrator.
The more I read of the Les Rougon-Macquart Books, the more characters I recognize. I found a family tree here:
I was happy to find it, so I thought you might want it too. It is in French but that doesn鈥檛 matter with names!
Zola is my new favorite author. I like the writing style. Characters, places and events come alive for me. You can read the books in whatever order you want. Pick one with a topic that appeals to you. Just don鈥檛 start with , I didn鈥檛 like that at all!
* 4 stars
Les Rougon-Macquart Books
*(#13) 4 stars
*(#14) (L鈥橭euvre) 4 stars
*(#9) 1 star
*(#7) (L'Assommoir) TBR
*(#12) (La Joie de vivre) TBR
*(#17) (La B锚te Humaine)TBR
*(#11) (Au Bonheur des Dames) TBR
*(#2) (La Cur茅e) TBR
*(#18) (L鈥橝rgent) TBR
*(#3) (Le Ventre de Paris) TBR
*(#1) (La Fortune des Rougon) TBR
Other books on Impressionism:
* by 5 stars
* by 4 stars
* by 4 stars
* by 4 stars
* by 3 stars
What does that say?
I cannot get enough of this author!
I love that all of his books I have read so far have a different topic, this despite that all of Les Rougon-Macquart Books are set during the Second Empire (1852-1870), when France was under the rule of Napoleon III. Picking up Zola鈥檚 books, one after another, doesn鈥檛 get boring.
This, Zola鈥檚 14th novel of Les Rougon-Macquart Books, is set in Paris over a period of about fifteen years, concluding in 1870. It is about the Bohemian art community in Paris when Impressionism was first taking hold; the characters are painters, sculptors and art dealers, authors, journalists, actresses, architects and their respective husbands, wives and children. One thing that is outstanding is Zola鈥檚 ability to make each and every one of a large cast of characters come alive. I can think of no other author that can pull this off as well as Zola does.
This is a book of in-depth character portrayal. It is about a group of friends. Two of the central characters are very close鈥擟laude Lantier and Pierre Sandoz. The former, an artist, is based primarily on Paul C茅zanne with bits of 脡douard Manet and Claude Monet thrown in too. Pierre Sandoz is modeled on the author himself. Zola and C茅zanne grew up together in Aix-en-Provence, which in Zola鈥檚 stories is referred to as the Proven莽al village of Plassans. This is Zola鈥檚 most autobiographical novel!
Zola puts you in a time and a place. You are there, I mean really, really there. His writing is descriptive, very descriptive. I do not recommend Zola鈥檚 books to those who dislike descriptive writing. He describes people, facial details such as eyebrows, texture of the skin, prominence of a jaw, the shape of a mouth, the stature, height, width and build of a body, the clothes on that body, their color, cut, flimsiness, need of repair, or maybe the number, size, shape and color of the buttons there. Do they shine or sparkle or are they dull? I sink into these details and I see that which is described before my eyes. More than just seeing, I feel the essence that a person exudes. Zola does this with people, places and situations. You are there beside a person, in a hall, on a street. You know that person, you know how that person will react, you have spent time with that person, you know their backstory. I have spent a whole paragraph in an attempt to describe Zola鈥檚 writing style. Why? Because you know better than I do what style of writing fits you. I love this writing. I am swallowed up by it. I become immersed in another time and place and the people there surrounding me.
I will give one concrete example. A struggling pointer has finally gotten one of his paintings chosen for the prestige filled exhibit at the Palais des Beaux-Arts. Getting through the selection process has been both excruciating and humiliating. He goes to the hall to see his picture. He cannot find it. Around and around he searches. The hall fills up, the crowd is dense, garments are wet and steaming, rain pounds the skylight above. When Claude Lantier, and it is him of course, finally finds his painting, it is up high on a wall, tilted, insignificant, squeezed in between other more prominent tableaux. Nobody stops and looks at his paining. It is this way for all struggling new artists. It is this way for those established artists no longer in mode. It is those paintings backed by influential friends with money and position that draw attention. Others are ignored, mocked or laughed at. And now listen, to top it all off, Claude鈥檚 painting was a painting of love, a painting of Claude鈥檚 son who has died. Readers have lived through the son鈥檚 birth and then death, the sorrow and the pain of it. Seeing that small, tilted painting thrown up high on a wall makes your heart break! Zola has given all the right details to make you care.
鈥淣aturalism is a literary movement beginning in the late nineteenth century, similar to literary realism in its rejection of Romanticism, but distinct in its embrace of determinism, detachment, scientific objectivism, and social commentary. The movement largely traces to the theories of French author 脡mile Zola.鈥� (Source: Wiki)
The above is reflected in all that one reads by Zola.
The narration by Leighton Pugh is very, very good. The narration I have given four stars. His pronunciation of French is relatively good. Speed and pacing are fine. This is a book where you want to hear the author鈥檚 words, undisturbed by the narrator.
The more I read of the Les Rougon-Macquart Books, the more characters I recognize. I found a family tree here:
I was happy to find it, so I thought you might want it too. It is in French but that doesn鈥檛 matter with names!
Zola is my new favorite author. I like the writing style. Characters, places and events come alive for me. You can read the books in whatever order you want. Pick one with a topic that appeals to you. Just don鈥檛 start with , I didn鈥檛 like that at all!
* 4 stars
Les Rougon-Macquart Books
*(#13) 4 stars
*(#14) (L鈥橭euvre) 4 stars
*(#9) 1 star
*(#7) (L'Assommoir) TBR
*(#12) (La Joie de vivre) TBR
*(#17) (La B锚te Humaine)TBR
*(#11) (Au Bonheur des Dames) TBR
*(#2) (La Cur茅e) TBR
*(#18) (L鈥橝rgent) TBR
*(#3) (Le Ventre de Paris) TBR
*(#1) (La Fortune des Rougon) TBR
Other books on Impressionism:
* by 5 stars
* by 4 stars
* by 4 stars
* by 4 stars
* by 3 stars
August 26, 2019
This book has absolutely WRECKED me. This review is written by a pile of ashes.
The Masterpiece is populated by artists, passionate, ambitious and young, feverish with their ideas and ideals. They are immersed in the world of literature and art, contribute to it, fight against it and for it. They crave glory and kill themselves with work, striving to rise above mediocrity. And people who love them have to deal with all of that, and it's a lot. It was fascinating and heartbreaking, really.
The writing was amazing. I fell in love with the characters and empathized with a lot of what they felt and thought. Zola is now one of my favorite writers. "The Masterpiece" is a work of pure genius.
I picked this book up as a tie-in for my non-fiction read of , because the main character, a fictional artist Claude Lantier, is also a XIX-century impressionist making a career in Paris. Though it is said Lantier was actually based partly on Cezanne, partly on Manet, who were friends with Zola.
The Masterpiece is populated by artists, passionate, ambitious and young, feverish with their ideas and ideals. They are immersed in the world of literature and art, contribute to it, fight against it and for it. They crave glory and kill themselves with work, striving to rise above mediocrity. And people who love them have to deal with all of that, and it's a lot. It was fascinating and heartbreaking, really.
The writing was amazing. I fell in love with the characters and empathized with a lot of what they felt and thought. Zola is now one of my favorite writers. "The Masterpiece" is a work of pure genius.
I picked this book up as a tie-in for my non-fiction read of , because the main character, a fictional artist Claude Lantier, is also a XIX-century impressionist making a career in Paris. Though it is said Lantier was actually based partly on Cezanne, partly on Manet, who were friends with Zola.
November 22, 2020
韦慰 渭蔚纬伪位蔚蟺萎尾慰位慰 蟽蠂苇未喂慰 蟿慰蠀 Zola 谓伪 蠁蟿喂维尉蔚喂 渭喂伪 蟽蔚喂蟻维 渭蠀胃喂蟽蟿慰蟻畏渭维蟿蠅谓, 蟿慰蠀蟼 巍慰蠀纬魏蠈谓-螠伪魏维蟻, 渭慰喂维味蔚喂 蟽伪谓 渭喂伪 魏慰蠉蟻蟽伪-蟿伪尉委未喂 蟽蟿慰谓 蠂蟻蠈谓慰, 蟽蔚 渭喂伪 蟽蠀纬魏蔚魏蟻喂渭苇谓畏 蔚蟺慰蠂萎, 渭蔚 渭畏蠂伪谓慰未畏纬蠈 苇谓伪谓 伪位畏胃喂谓维 蟺蟻慰喂魏喂蟽渭苇谓慰 位慰纬慰蟿苇蠂谓畏 蟺慰蠀 畏 纬位蠋蟽蟽伪 蟿慰蠀 魏伪喂 慰 谓伪蟿慰蠀蟻伪位喂蟽渭蠈蟼 蟿慰蠀 伪纬纬委味慰蠀谓 蟿伪 伪谓蠋蟿蔚蟻伪 蔚蟺委蟺蔚未伪 蟿畏蟼 蟿苇蠂谓畏蟼 蟽蟿畏谓 慰蟺慰委伪 蟿维蠂胃畏魏蔚. 螘渭蟺位苇魏慰谓蟿伪蟼 苇谓伪 魏蔚谓蟿蟻喂魏蠈 伪蠁萎纬畏渭伪, 蔚魏蟿喂谓维蟽蟽蔚喂 蟿慰 蟽蠀纬纬蟻伪蠁喂魏蠈 蟿慰蠀 蟿伪位苇谓蟿慰 蟿蠈蟽慰 渭蔚蟽蟿维 渭苇蟽伪 伪蟺蠈 蟿慰蠀蟼 蟺伪蟻伪蟺蠈蟿伪渭慰蠀蟼 蟿蠅谓 蟺伪蟻维位位畏位蠅谓 纬蔚纬慰谓蠈蟿蠅谓 魏伪喂 渭苇蟽伪 伪蟺蠈 蟿畏谓 喂魏伪谓蠈蟿畏蟿维 蟿慰蠀 谓伪 蠂伪位喂谓伪纬蠅纬蔚委 蟿畏谓 纬蟻伪蠁萎, 谓伪 渭畏谓 伪蠁萎谓蔚喂 蟿委蟺慰蟿伪 蔚纬魏伪蟿伪位蔚位蔚喂渭渭苇谓慰 蟽蟿畏谓 蟿蠀蠂伪喂蠈蟿畏蟿伪, 蟿委蟺慰蟿伪 蟺慰蠀 谓伪 蠂维蟽魏蔚喂 蟽蟿慰 魏蔚谓蠈. 螌位伪 蔚未蠋 蔚委谓伪喂 蟺位慰蠀蟽喂慰蟺维蟻慰蠂伪, 魏维胃蔚 位苇尉畏 苇蠂蔚喂 蔚喂未喂魏蠈 尾维蟻慰蟼 魏伪喂 蟽蟿慰 蟽蠉谓慰位慰 魏伪蟻蠁蠋谓蔚蟿伪喂 蟽蟿慰 渭蠀伪位蠈 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏 渭喂伪 蟿蠈蟽慰 魏伪胃伪蟻萎 蔚喂魏蠈谓伪 蟿慰蠀 苇尉蠅 渭伪 魏蠀蟻委蠅蟼 蟿慰蠀 渭苇蟽伪 魏蠈蟽渭慰蠀 蟿蠅谓 蔚渭蟺位蔚魏蠈渭蔚谓蠅谓 蟺蟻慰蟽蠋蟺蠅谓 蟺慰蠀 苇谓伪蟼 蟽蠉纬蠂蟻慰谓慰蟼 蠄蠀蠂慰位蠈纬慰蟼 胃伪 渭蟺慰蟻慰蠉蟽蔚 渭蔚 未蠀蟽魏慰位委伪 谓伪 伪谓蟿伪纬蠅谓喂蟽蟿蔚委 伪蠀蟿萎 蟿慰蠀 蟿畏 未蔚尉喂蠈蟿畏蟿伪.
韦慰 蔚谓 位蠈纬蠅 尾喂尾位委慰 蟿慰蠀 Zola 蔚委谓伪喂 伪蠀蟿慰伪谓伪蠁慰蟻喂魏蠈 渭蔚 魏蠉蟻喂慰 维尉慰谓伪 蟿慰蠀蟼 未蔚蟽渭慰蠉蟼 蠁喂位委伪蟼 蟿慰蠀 位慰纬慰蟿苇蠂谓畏 渭蔚 蟿慰谓 蟺伪喂未喂魏蠈 蟿慰蠀 蠁委位慰 C茅zanne, 慰喂 未蠀慰 蟿慰蠀蟼 蟺蔚蟻喂蟽蟿慰喂蠂喂蟽渭苇谓慰喂 伪蟺蠈 维位位慰蠀蟼 蠁委位慰蠀蟼 魏伪位位喂蟿苇蠂谓蔚蟼 蟽蔚 苇谓伪 螤伪蟻委蟽喂 蠈蟺慰蠀 蟿伪 渭蟺喂蟽蟿蟻蠈 蔚委谓伪喂 蟿蠈蟺慰蟼 蟽蠀谓维谓蟿畏蟽畏蟼 魏伪喂 渭慰喂蟻维蟽渭伪蟿慰蟼, 蟿慰 纬魏维味喂 魏伪喂 慰喂 位维渭蟺蔚蟼 蟺蔚蟿蟻蔚位伪委慰蠀 渭蔚蟿维 尾委伪蟼 味蔚蟽蟿伪委谓慰蠀谓 蟿伪 谓慰喂魏喂伪蟽渭苇谓伪 伪蟿蔚位喂苇 蟿蠅谓 味蠅纬蟻维蠁蠅谓 魏伪喂 慰 喂渭蟺蟻蔚蟽喂慰谓喂蟽渭蠈蟼 尾纬维味蔚喂 未蔚喂位维 蟿慰 魏蔚蠁维位喂 蟿慰蠀 蠅蟼 魏伪喂谓慰蟿蠈渭伪 渭伪蟿喂维, 蠅蟼 蔚蟺伪谓伪蟽蟿伪蟿喂魏蠈 蟻蔚蠉渭伪. 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿畏谓 魏伪位位喂蟿蔚蠂谓喂魏萎 蟿慰蠀蟼 蟺慰蟻蔚委伪, 喂未委蠅蟼 伪蠀蟿萎蟼 蟿慰蠀 味蠅纬蟻维蠁慰蠀 蟺慰蠀 伪纬蠅谓喂维 魏伪喂 渭伪蟿蠋谓蔚喂 纬喂伪 谓伪 魏伪蟿伪蠁苇蟻蔚喂 伪蠀蟿蠈 蟺慰蠀 蠁伪谓蟿维味蔚喂 伪魏伪蟿蠈蟻胃蠅蟿慰, 蟿畏 未畏渭喂慰蠀蟻纬委伪 蟿慰蠀 魏伪位蠉蟿蔚蟻慰蠀 魏伪喂 蟺喂慰 维尉喂慰蠀 蟺委谓伪魏维 蟿慰蠀, 蠂蠅蟻委蟼 蔚魏蟺蟿蠋蟽蔚喂蟼 蟽蟿慰 蟿伪位苇谓蟿慰 蟿慰蠀 魏伪喂 蟿喂蟼 蠁蟻苇蟽魏喂蔚蟼 喂未苇蔚蟼 蟿慰蠀, 渭蔚 渭喂伪 蔚蟺喂渭慰谓萎 蟺慰蠀 纬委谓蔚蟿伪喂 蟽蟿伪未喂伪魏维 蔚渭渭慰谓萎 蟺慰蠀 蟿慰谓 蟽蟿慰喂蠂蔚喂蠋谓蔚喂. 螒蠀蟿萎 畏 蔚渭渭慰谓萎 蟿慰谓 伪蟺慰蠂伪蠀谓蠋谓蔚喂 位委纬慰-位委纬慰, 纬委谓蔚蟿伪喂 畏 尾伪蟻喂维, 伪蟽萎魏蠅蟿畏 蟽魏喂维 蟺慰蠀 蟿慰谓 伪魏慰位慰蠀胃蔚委 蟽蔚 魏维胃蔚 蟿慰蠀 尾萎渭伪 魏伪喂 蠈谓蔚喂蟻慰, 渭苇蠂蟻喂 蟿慰谓 胃维谓伪蟿慰.
螣 蔚位蔚蠉胃蔚蟻慰蟼 尾畏渭伪蟿喂蟽渭蠈蟼 蔚谓蠈蟼 谓苇慰蠀 蟿伪位伪谓蟿慰蠉蠂慰蠀 魏伪位位喂蟿苇蠂谓畏 蟽魏慰谓蟿维蠁蟿蔚喂 蟺维谓蠅 蟽蟿畏谓 伪蠀蟽蟿畏蟻萎 魏伪喂 蟽蟿蔚委蟻伪 纬蟻伪渭渭萎 渭喂伪蟼 蟺蔚蟺伪蟿畏渭苇谓畏蟼, 蟿畏蟼 蔚纬魏维胃蔚蟿畏蟼, 伪蟺蠈 魏伪胃苇蟻未伪蟼, 纬蟻伪渭渭萎蟼 蟺慰蠀 未委谓蔚蟿伪喂 苇蟿慰喂渭畏 蟺蟻慰蟼 渭委渭畏蟽畏 伪蟺蠈 蟿慰蠀蟼 未伪蟽魏维位慰蠀蟼. 螝伪喂 蔚魏蔚委 未畏渭喂慰蠀蟻纬蔚委蟿伪喂 渭喂伪 蟻蠅纬渭萎 蟽蟿慰 蠂蟻蠈谓慰, 蟿慰 蟿伪位苇谓蟿慰 伪谓伪蠁位苇纬蔚蟿伪喂, 伪谓蟿喂未蟻维, 蟿喂谓维味蔚蟿伪喂 蟺委蟽蠅 魏伪喂 蟽蟿蟻委尾蔚喂 纬喂伪 谓伪 蠂伪蟻维尉蔚喂 蟿畏 未喂魏萎 蟿慰蠀 蟿蟻慰蠂喂维. 螣 未蟻蠈渭慰蟼 伪蠀蟿蠈蟼 魏维胃蔚 维位位慰 蟺伪蟻维 渭蔚 位慰蠀位慰蠉未喂伪 蔚委谓伪喂 蟽蟺伪蟻渭苇谓慰蟼 纬喂伪蟿委 畏 渭伪蟿伪喂慰未慰尉委伪 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏 纬委谓蔚蟿伪喂 蟿慰 魏蔚谓蟿蟻委 蟺慰蠀 蟽蟿蟻苇蠁蔚蟿伪喂 魏伪喂 蟿慰谓 未畏位畏蟿畏蟻喂维味蔚喂 蟽蔚 魏维胃蔚 蟿慰蠀 尾萎渭伪. 螚 伪纬蠅谓委伪 蟿慰蠀 魏伪喂 蟿慰 蔚蟽蠅蟿蔚蟻喂魏蠈 蟿慰蠀 维纬蠂慰蟼 渭伪蟼 未喂伪蟺蔚蟻谓维 蟽伪谓 蟻蔚蠉渭伪, 慰 蔚蟻蔚胃喂蟽渭蠈蟼 蟿慰蠀 蔚委谓伪喂 蟽蠂蔚未蠈谓 渭蠈谓喂渭慰蟼, 慰 未喂伪魏伪萎蟼 蟿慰蠀 蟺蠈胃慰蟼 谓伪 伪纬纬委尉蔚喂 蟿慰 喂未蔚蠋未蔚蟼 蟿慰谓 魏伪蟿伪位伪渭尾维谓蔚喂 蟽伪谓 未伪委渭慰谓伪蟼. 螌蟺蠅蟼 慰喂 味畏蟿喂维谓慰喂 蟺慰蠀 蟿蔚委谓慰蠀谓 蟺伪蟻伪魏位畏蟿喂魏维 蟿慰 蠂苇蟻喂 蟽蟿慰谓 蟺蔚蟻伪蟽蟿喂魏蠈 喂魏蔚蟿蔚蠉慰谓蟿伪蟼 纬喂伪 蔚位蔚畏渭慰蟽蠉谓畏, 慰 魏伪位位喂蟿苇蠂谓畏蟼 蟿蔚委谓蔚喂 蟿慰 未喂魏蠈 蟿慰蠀 蠂苇蟻喂 蟺蟻慰蟼 蟿慰 维蟺喂伪蟽蟿慰 蔚魏位喂蟺伪蟻蠋谓蟿伪蟼 纬喂伪 蟿畏 胃蔚委伪 苇渭蟺谓蔚蠀蟽畏 蟺慰蠀 胃伪 蟿慰蠀 蟺蟻慰蟽蠁苇蟻蔚喂 蟿慰 蟿苇位蔚喂慰, 蟿慰 维蟻喂蟽蟿慰 蟺慰蠀 伪谓伪味畏蟿维.
螣喂 魏伪位位喂蟿苇蠂谓蔚蟼 蟿畏蟼 伪蠁萎纬畏蟽畏蟼, 慰 螝位蠅谓蟿 (Cezanne), 慰 危伪谓蟿蠈味 (Zola), 慰 螡蟿蠀渭蟺蠉蟼, 慰 螠伪慰蠀谓蟿蠋, 慰 危蔚谓, 慰 桅伪味蟻蠈位, 尉蔚魏喂谓慰蠉谓 渭伪味委 蟿畏谓 蟺慰蟻蔚委伪 蟿慰蠀蟼 魏伪喂 渭慰喂维味蔚喂 谓伪 蟺委谓慰蠀谓 谓蔚蟻蠈 蟽蟿慰 蠈谓慰渭伪 蟿畏蟼 蠁喂位委伪蟼 蟺慰蠀 蟿慰蠀蟼 蟽蠀谓未苇蔚喂 蟽伪谓 喂蔚蟻蠈 魏伪喂 蟽蟿苇蟻蔚慰 蟽蠀纬魏慰位位畏蟿喂魏蠈 蠀位喂魏蠈. 螠慰喂蟻维味慰谓蟿伪喂 蟿伪 蟺维胃畏 蟿慰蠀蟼, 伪谓蟿伪位位维蟽蟽慰蠀谓 渭慰谓蟿苇位伪 蟺慰蠀 蟽蟿萎谓慰谓蟿伪喂 纬蠀渭谓维 蟽蟿伪 伪蟿蔚位喂苇 蟿慰蠀蟼, 蟿伪 尾萎渭伪蟿维 蟿慰蠀蟼 慰未畏纬慰蠉谓蟿伪喂 蔚谓蟽蟿喂魏蟿蠅未蠋蟼 蟽蟿伪 蟽蟿苇魏喂伪 蠈蟺慰蠀 胃伪 蟽蠀谓伪谓蟿萎蟽慰蠀谓 蟿慰蠀蟼 蟽蠀谓蟿蟻蠈蠁慰蠀蟼 蟿慰蠀蟼, 谓伪 渭慰喂蟻伪蟽蟿慰蠉谓 蟿喂蟼 蔚蟽蠅蟿蔚蟻喂魏苇蟼 蟿慰蠀蟼 伪谓伪味畏蟿萎蟽蔚喂蟼. 螆谓伪 蠈蟻纬喂慰 苇渭蟺谓蔚蠀蟽畏蟼 魏伪喂 慰蟻渭萎蟼 蔚委谓伪喂 蟿慰 魏维未蟻慰 渭苇蟽伪 伪蟺蠈 蟿慰 慰蟺慰委慰 蔚蠁慰蟻渭维 畏 喂蟽蟿慰蟻委伪. 螌渭蠅蟼 慰 魏伪位位喂蟿苇蠂谓畏蟼 蠈蟽慰 魏喂 伪谓 伪谓萎魏蔚喂 魏慰喂谓蠅谓喂魏维 蟽蔚 苇谓伪 蟽蠉谓慰位慰 维位位蠅谓 慰渭蠈蟿蔚蠂谓蠋谓 蟿慰蠀 萎 魏伪喂 蠈蠂喂, 蟺伪蟻伪渭苇谓蔚喂 渭喂伪 渭慰谓萎蟻畏蟼 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪 蟺慰蠀 味蔚喂 渭慰谓伪蠂喂魏维 蟿慰 未喂魏蠈 蟿慰蠀 蟺蟻慰蟽蠅蟺喂魏蠈 未蟻维渭伪, 渭蔚 蟿慰谓 未喂魏蠈 蟿慰蠀 蟺蟻慰蟽蠅蟺喂魏蠈 未蟻伪渭伪蟿喂魏蠈 蟿蟻蠈蟺慰. 螝喂 苇蟿蟽喂 伪位委渭慰谓慰, 蠈位伪 伪蠀蟿维 蟺蔚蟻委 蟽蠀谓蟿蟻慰蠁喂魏蠈蟿畏蟿伪蟼 未蔚谓 蔚委谓伪喂 蟺伪蟻维 渭喂伪 蠄蔚蠀未伪委蟽胃畏蟽畏. 螤蔚蟻谓蠋谓蟿伪蟼 伪蟺蠈 蟿慰谓 蟽蟿蔚谓蠈 未喂维未蟻慰渭慰 蟿畏蟼 渭伪蟿伪喂慰未慰尉委伪蟼, 蠂蠅蟻维蔚喂 渭蠈谓慰 苇谓伪蟼 蟿畏 蠁慰蟻维, 蟽蠀谓胃位委尾慰谓蟿伪蟼 蟿畏 蠂蟻蠀蟽萎 伪位蠀蟽委未伪 蟿畏蟼 蠁喂位委伪蟼 蟺慰蠀 蟿慰蠀蟼 蔚谓蠋谓蔚喂. 螣喂 未蔚蟽渭慰委 伪蟻伪喂蠋谓慰蠀谓 渭苇蟽伪 蟽蟿慰 蠀纬蟻蠈 蟿慰蠀 维纬蟻喂慰蠀 伪谓蟿伪纬蠅谓喂蟽渭慰蠉, 蟽蟺维谓蔚 蟽伪谓 蔚蠉胃蟻伪蠀蟽蟿伪 未喂维蟿蟻畏蟿伪 魏蠈魏伪位伪 魏伪喂 渭苇谓蔚喂 谓伪 魏慰喂蟿维渭蔚 蟿畏 蟽魏蠈谓畏 蟿慰蠀蟼 蟺慰蠀 蟽魏慰蟻蟺委味蔚喂.
芦螤蟻慰蟼 蟿喂 伪蠀蟿蠈蟼 慰 渭维蟿伪喂慰蟼 伪谓伪尾蟻伪蟽渭蠈蟼, 伪谓 慰 维谓蔚渭慰蟼 蟺委蟽蠅 伪蟺蠈 蟿慰谓 维谓胃蟻蠅蟺慰 蟺慰蠀 蟺蔚蟻蟺伪蟿维蔚喂, 蟽伪蟻蠋谓蔚喂 魏伪喂 蟺伪委蟻谓蔚喂 渭伪味委 蟿慰蠀 蟿伪 委蠂谓畏 蟿慰蠀; 韦慰 蔚委蠂蔚 谓喂蠋蟽蔚喂 伪蟺蠈 蟺蟻喂谓 蟺蠅蟼 未蔚谓 苇蟺蟻蔚蟺蔚 谓伪 蔚蟺喂蟽蟿蟻苇蠄蔚喂 蔚魏蔚委, 未喂蠈蟿喂 蟿慰 蟺伪蟻蔚位胃蠈谓 未蔚谓 蔚委谓伪喂 蟺伪蟻维 蟿慰 魏慰喂渭畏蟿萎蟻喂慰 蟿蠅谓 蠄蔚蠀未伪喂蟽胃萎蟽蔚蠋谓 渭伪蟼 魏伪喂 蟽蟺维蔚喂 魏伪谓蔚委蟼 蟿伪 蟺蠈未喂伪 蟿慰蠀 伪谓维渭蔚蟽伪 蟽蟿慰蠀蟼 蟿维蠁慰蠀蟼.禄
螣蟻纬伪蟽渭蠈蟼 蟿苇蠂谓畏蟼 伪谓伪尾位蠉味蔚喂 伪蟺蠈 蟿畏谓 伪蠁萎纬畏蟽畏 魏伪喂 慰 伪谓伪纬谓蠋蟽蟿畏蟼 蔚委谓伪喂 蟽蔚 蟺蔚蟻委慰蟺蟿畏 胃苇蟽畏 渭蟺蟻慰蟽蟿维 蟽蟿慰 蟺伪谓蠈蟻伪渭伪 蟿慰蠀 螤伪蟻喂蟽喂慰蠉 蟿蠅谓 蟿蔚蠂谓蠋谓 蟿慰蠀 19慰蠀 伪喂蠋谓伪, 伪蠀蟿慰蠉 蟿蠅谓 危伪位慰谓喂蠋谓 韦苇蠂谓畏蟼 蠈蟺慰蠀 畏 未蟻伪蟽蟿畏蟻喂蠈蟿畏蟿伪 蔚委谓伪喂 伪蟽蟿伪渭维蟿畏蟿畏, 慰喂 蠁位苇尾蔚蟼 蟿慰蠀 危畏魏慰蠀维谓伪 蟺维位位慰谓蟿伪喂 渭蟺蟻慰蟽蟿维 蟿慰蠀 魏伪喂 慰喂 纬苇蠁蠀蟻蔚蟼 蟺慰蠀 蠂蠅蟻委味慰蠀谓 蟿畏 未蠀蟿喂魏萎 伪蟺蠈 蟿畏谓 伪蟻喂蟽蟿蔚蟻萎 蠈蠂胃畏 未蔚蟽蟺蠈味慰蠀谓 渭蟺蟻慰蟽蟿维 蟽蟿慰 尾位苇渭渭伪 魏伪喂 蟿慰 蠂慰蟻蟿伪委谓慰蠀谓 蔚喂魏蠈谓蔚蟼 蟿畏蟼 蔚蟺慰蠂萎蟼.
危蟿慰 未畏渭喂慰蠉蟻纬畏渭伪 尉蔚魏喂谓维渭蔚 渭蔚 渭喂伪 魏维蠄伪 魏伪喂 渭喂伪 蟺蠀蟻蔚蟿蠋未畏 蟺慰蟻蟿慰魏伪位喂维 胃苇蟻渭畏 魏伪喂 渭蔚蟿伪尾伪委谓慰蠀渭蔚, 蟽喂纬维-蟽喂纬维, 蟽蟿慰 伪蟺蠈位蠀蟿慰 蠄蠉蠂慰蟼 魏伪喂 蟿畏谓 蟺伪纬蔚蟻萎 位蔚蠀魏蠈蟿畏蟿伪 蟿慰蠀 胃伪谓维蟿慰蠀, 魏伪喂 蟿慰 伪谓蟿喂位伪渭尾伪谓蠈渭伪蟽蟿蔚 蠈蟿伪谓 蔚委谓伪喂 蟺喂伪 伪蟻纬维, 蠈蟿伪谓 苇蠂蔚喂 蟺喂伪 蔚蟺苇位胃蔚喂 畏 伪蟺蠈位蠀蟿畏 魏伪蟿伪蟽蟿蟻慰蠁萎 谓伪 渭伪蟼 蟽蠀谓蟿蟻委蠄蔚喂.
螌蟽慰 蟿蔚位蔚委蟿伪喂 畏 渭蔚蟿维尾伪蟽畏 伪蟺蠈 蟿慰 胃蔚蟿喂魏蠈 蟽蟿慰 伪蟻谓畏蟿喂魏蠈 蠁慰蟻蟿委慰 蟿畏蟼 喂蟽蟿慰蟻委伪蟼, 纬喂谓蠈渭伪蟽蟿蔚 慰喂 伪尾慰萎胃畏蟿慰喂 渭维蟻蟿蠀蟻蔚蟼 渭喂伪蟼 伪谓伪渭苇蟿蟻畏蟽畏蟼. 螚 蟿慰渭萎 蔚委谓伪喂 蔚纬魏维蟻蟽喂伪, 蟺喂维谓蔚喂 蟿伪 味蠅蟿喂魏维 渭伪蟼 蠈蟻纬伪谓伪, 未蔚 渭伪蟼 伪蠁萎谓蔚喂 伪位蠋尾畏蟿慰蠀蟼. 螠苇谓慰蠀渭蔚 渭蔚蟿苇蠅蟻慰喂 谓伪 魏慰喂蟿维渭蔚 蟿慰 未蟻维渭伪 魏伪喂 蟿伪 魏慰渭渭维蟿喂伪 蟺慰蠀 伪蠁萎谓蔚喂 未喂维蟽蟺伪蟻蟿伪 纬蠉蟻蠅 渭伪蟼, 伪渭萎蠂伪谓慰喂, 伪蟺慰位蠉蟿蠅蟼 伪谓委魏伪谓慰喂 谓伪 蟿伪 魏慰位位萎蟽慰蠀渭蔚 尉伪谓维. 螔位苇蟺慰蠀渭蔚, 谓喂蠋胃慰蠀渭蔚, 渭伪 伪未蠀谓伪蟿慰蠉渭蔚 谓伪 尾慰畏胃萎蟽慰蠀渭蔚. 惟未委谓蔚蟼 纬苇谓谓伪蟼 未喂伪魏伪蟿苇蠂慰蠀谓 蟿慰谓 味蠅纬蟻维蠁慰, 渭喂伪 纬苇谓谓伪 蟺慰蠀 伪未蠀谓伪蟿蔚委 谓伪 苇蟻胃蔚喂 蟽蔚 蟺苇蟻伪蟼路 伪蟻纬蠈蟼 胃维谓伪蟿慰蟼 纬喂伪 蟿畏 纬蠀谓伪委魏伪-渭慰谓蟿苇位慰 蟺慰蠀 慰 蟻蠈位慰蟼 蟿畏蟼 蠅蟼 纬蠀谓伪委魏伪蟼 蟿慰蠀 味蠅纬蟻维蠁慰蠀 蔚尉伪蠇位蠋谓蔚蟿伪喂 纬喂伪 谓伪 魏蔚蟻未委蟽蔚喂 魏伪蟿维 魏蟻维蟿慰蟼 慰 蟻蠈位慰蟼 蟿畏蟼 蠅蟼 畏 魏蔚谓蟿蟻喂魏萎 渭慰蟻蠁萎 蟿慰蠀 未畏渭喂慰蠀蟻纬萎渭伪蟿蠈蟼 蟿慰蠀. 螚 慰位慰味蠋谓蟿伪谓畏 纬蠀谓伪委魏伪 蟽尾萎谓蔚喂 蟽蟿伪未喂伪魏维 伪蟺蠈 蟿慰谓 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏蠈 蠂维蟻蟿畏 蟿慰蠀 味蠅纬蟻维蠁慰蠀 蔚谓蠋 畏 渭慰蟻蠁萎 蟿慰蠀 蟺委谓伪魏伪 蔚委谓伪喂 蔚魏蔚委谓畏 蟺慰蠀 蠀蠄蠋谓蔚蟿伪喂 蟽蔚 伪谓蟿喂魏蔚委渭蔚谓慰 位伪蟿蟻蔚委伪蟼. 螚 伪谓蟿喂味畏位委伪 蟿畏蟼 纬蠀谓伪委魏伪蟼 蟽蟿蟻苇蠁蔚蟿伪喂 蟺蟻慰蟼 蟿慰 维蠀位慰 蟺慰蟻蟿蟻苇蟿慰 蟿畏蟼 渭苇蟽伪 蟽蔚 渭喂伪 蟺伪蟻伪蠁蟻慰蟽蠉谓畏, 蔚蠂胃蟻蠈蟼 蟿畏蟼 蔚委谓伪喂 慰 委未喂慰蟼 蟿畏蟼 慰 蔚伪蠀蟿蠈蟼 蟺慰蠀 蟽蟿萎胃畏魏蔚 魏维蟺慰蟿蔚 蠅蟼 渭慰谓蟿苇位慰 渭蟺蟻慰蟽蟿维 蟽蟿慰谓 魏伪位位喂蟿苇蠂谓畏, 未委谓慰谓蟿维蟼 蟿慰蠀 蠈,蟿喂 蟺喂慰 伪魏蟻喂尾蠈 伪蟺蠈 蟿畏谓 委未喂伪, 蟺蟻慰蟽蠁苇蟻慰谓蟿伪蟼 蟿慰谓 蔚伪蠀蟿蠈 蟿畏蟼 慰位慰魏位畏蟻蠅蟿喂魏维, 蟺谓喂纬渭苇谓畏 伪蟺蠈 苇蟻蠅蟿伪.
螣 苇蟻蠅蟿伪蟼 蟿畏蟼 螝蟻喂蟽蟿委谓, 蟿畏蟼 位伪蟿蟻蔚渭苇谓畏蟼 纬蠀谓伪委魏伪蟼 蟿慰蠀 螝位蠅谓蟿, 蟽蟺维蔚喂 魏蠈魏伪位伪, 蔚委谓伪喂 魏蟻伪蠀纬伪位苇慰蟼, 慰 伪谓伪纬谓蠋蟽蟿畏蟼 蟽蠂蔚未蠈谓 蟿慰谓 味畏位蔚蠉蔚喂, 伪魏蠈渭伪 魏伪喂 慰 蟺喂慰 伪蟺慰蟽蟿蔚纬谓蠅渭苇谓慰蟼 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏维 胃伪 蟽蟿伪胃蔚委 蠈蟻胃喂慰蟼 渭蔚 蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿维 蟿慰蠀 尉伪谓伪渭蟺慰蠀渭蟺慰蠀魏喂伪蟽渭苇谓伪, 伪谓伪蟽蟿畏渭苇谓慰蟼 伪蟺蠈 蟿畏谓 伪蟺慰谓苇魏蟻蠅蟽萎 蟿慰蠀. 螌渭蠅蟼 伪蠀蟿蠈蟼 纬委谓蔚蟿伪喂 蠁蠅蟿喂维 魏伪喂 蟿畏谓 蟺蠀蟻蠋谓蔚喂, 渭苇蠂蟻喂 谓伪 蟿畏谓 魏维蠄蔚喂 慰位慰蟽蠂蔚蟻蠋蟼. 螣 苇蟻蠅蟿伪蟼 蟿萎蟼 尉蔚蠁蔚蠉纬蔚喂, 纬位喂蟽蟿蟻维蔚喂 蟺委蟽蠅 渭蔚 蟿畏谓 委未喂伪 慰蟻渭萎 蟺慰蠀 未蠈胃畏魏蔚, 蠈蟺蠅蟼 畏 维渭蟺蠅蟿畏, 蟺慰蠀 蟻慰蠀蠁维蔚喂 蟺委蟽蠅 蠈位慰 蟿慰 谓蔚蟻蠈 蟺慰蠀 纬苇渭喂蟽蔚 畏 蟺位畏渭渭蠀蟻委未伪.
螚 蟺慰蟻蔚委伪 蟿慰蠀 尾喂尾位委慰蠀 蔚委谓伪喂 魏伪胃慰未喂魏萎, 尾慰蠀位喂维味慰蠀渭蔚 蟽蟿慰谓 尉蔚蟺蔚蟽渭蠈 蠈位蠅谓 蟿蠅谓 伪尉喂蠋谓, 渭苇蟽伪 蟽蔚 渭喂伪 蟽蠀谓蟿蔚位蔚蟽渭苇谓畏 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏萎 蠂蟻蔚慰魏慰蟺委伪 -蠈蟺蠅蟼 伪谓伪蠁苇蟻蔚喂 慰 委未喂慰蟼 慰 Zola- 蠁蟿蠅蠂蠈蟿蔚蟻慰喂, 伪谓萎渭蟺慰蟻慰喂, 蟺伪纬蠅渭苇谓慰喂.
螝位蔚委谓慰谓蟿伪蟼 蟿慰 尾喂尾位委慰 伪谓伪蠁蠋谓畏蟽伪 苇魏胃伪渭尾畏, 渭蔚 渭蔚胃蠀蟽蟿喂魏蠈 蔚谓胃慰蠀蟽喂伪蟽渭蠈, 蟺蠅蟼 胃伪 萎胃蔚位伪 魏喂 维位位慰, 魏喂 维位位畏 位慰纬慰蟿蔚蠂谓委伪 蟽伪谓 蟿慰蠀 螙慰位维, 蟿蠈蟽慰 蟺位慰蠉蟽喂伪 蟽蔚 位蠈纬慰 魏伪喂 蔚喂魏蠈谓蔚蟼, 蟿蠈蟽慰 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏维 蔚魏蟿蔚位蔚蟽渭苇谓畏.
螣 螙慰位维 苇蠁蟿喂伪尉蔚 蟿慰 未喂魏蠈 蟿慰蠀 未畏渭喂慰蠉蟻纬畏渭伪, 苇谓伪 苇蟻纬慰 渭苇蟽伪 蟽蔚 苇蟻纬慰, 苇谓伪 苇蟻纬慰 蟿苇蠂谓畏蟼 蟺慰蠀 尉蔚蠂蔚喂位委味蔚喂 伪蟺蠈 蟿苇蠂谓畏, 蟺慰蠀 蔚渭蟺蔚蟻喂苇蠂蔚喂 蟿畏谓 蟿苇蠂谓畏 魏伪喂 蠈蟺慰蠀 苇谓伪 蟽蟺喂谓胃畏蟻慰尾蠈位慰 魏伪喂 慰尉蠀未蔚蟻魏苇蟼 蠄蠀蠂慰纬蟻维蠁畏渭伪 慰蟻喂蟽渭苇谓蠅谓 伪谓胃蟻蠋蟺蠅谓 伪位位维 魏伪喂 渭喂伪蟼 蔚蟺慰蠂萎蟼 尉蔚蟿蠀位委纬蔚蟿伪喂 未蟻伪渭伪蟿喂魏维 渭蟺蟻慰蟽蟿维 蟽蟿伪 渭维蟿喂伪 渭伪蟼. 危蟿慰谓 螙慰位维 蠀蟺维蟻蠂蔚喂 渭喂伪 未喂伪蠁维谓蔚喂伪 蟽蟿畏 纬蟻伪蠁萎, 蠈位伪 蟺蟻伪纬渭伪蟿蔚蠉慰谓蟿伪喂 渭苇蟽蠅 蔚谓蠈蟼 蟽喂-胃蟻慰蠀 伪魏蟻喂尾慰蠉, 胃伪蟻蟻蔚委蟼, 蟺苇蟺位慰蠀 蟺慰蠀 未蔚谓 魏伪位蠉蟺蟿蔚喂 蟺伪蟻维 伪蟺慰魏伪位蠉蟺蟿蔚喂 魏伪喂 渭苇蟽蠅 伪蠀蟿慰蠉 未喂伪蠁伪委谓慰谓蟿伪喂 尉维蟽蟿蔚蟻蔚蟼 魏伪喂 位伪渭蟺蔚蟻苇蟼 蠈位蔚蟼 慰喂 伪蟺慰蠂蟻蠋蟽蔚喂蟼 蟿蠅谓 蟺蟻慰蟽蠋蟺蠅谓 魏伪喂 蟿蠅谓 魏伪蟿伪蟽蟿维蟽蔚蠅谓, 伪魏蠈渭伪 魏伪喂 慰喂 蟺喂慰 位蔚蟺蟿苇蟼, 慰喂 蟺喂慰 伪蠈蟻伪蟿蔚蟼. 螚 慰蟻渭萎 魏伪喂 畏 味蠅谓蟿维谓喂伪 蟿慰蠀 位蠈纬慰蠀 蟽蠀谓未蟻维渭蔚喂 伪蠀蟿萎 蟿蠅谓 纬蔚纬慰谓蠈蟿蠅谓 鈥撐何蔽� 蟿慰 伪谓蟿委胃蔚蟿慰鈥� 魏伪喂 蟿慰 伪蟺慰蟿苇位蔚蟽渭伪 蔚委谓伪喂 胃伪蠀渭伪蟽蟿蠈.
韦喂 渭苇谓蔚喂 蟽蟿慰 蟿苇位慰蟼 蟿慰蠀 未畏渭喂慰蠀蟻纬萎渭伪蟿慰蟼, 渭蔚蟿维 蟿畏谓 魏伪蟿伪蟽蟿蟻慰蠁萎 蟿蔚位喂魏维; 螠苇谓蔚喂 伪喂蠋谓喂伪 畏 味蠅纬蟻伪蠁喂魏萎 蟿慰蠀 C茅zanne, 蟿伪 纬蟻伪蟺蟿维 蟿慰蠀 Zola 魏伪喂 蟿伪 苇蟻纬伪 蠈位蠅谓 蟿蠅谓 蠀蟺慰位慰委蟺蠅谓 谓伪 味蔚蟽蟿伪委谓慰蠀谓 蟿慰 魏慰喂谓蠈, 蟿畏 渭喂伪 纬蔚谓喂维 渭蔚蟿维 蟿畏谓 维位位畏, 伪苇谓伪伪, 蠂蠅蟻委蟼 蟽蟿伪渭伪蟿畏渭蠈, 渭苇蟽伪 蟽蟿畏谓 魏慰喂谓蠈蠂蟻畏蟽蟿畏 胃维位伪蟽蟽伪 蟿畏蟼 蟿苇蠂谓畏蟼 蠈蟺慰蠀 魏伪谓蔚委蟼 渭蟺慰蟻蔚委 谓伪 魏慰位蠀渭蟺萎蟽蔚喂 蔚位蔚蠉胃蔚蟻伪 魏伪喂 谓伪 蟺喂蔚喂 蠈蟽慰 胃苇位蔚喂.
*螚 渭蔚蟿维蠁蟻伪蟽畏 蟿蠅谓 蔚魏未蠈蟽蔚蠅谓 螝伪蟽蟿伪谓喂蠋蟿畏 萎蟿伪谓 伪蠄蔚纬维未喂伪蟽蟿畏, 魏伪胃蠋蟼 魏伪喂 蟿慰 蔚蟺委渭蔚蟿蟻慰, 苇谓伪 渭喂魏蟻蠈 蔚蠉蟽蟿慰蠂慰 蟽蠂蠈位喂慰 蟺维谓蠅 蟽蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 苇蟻纬慰.
韦慰 蔚谓 位蠈纬蠅 尾喂尾位委慰 蟿慰蠀 Zola 蔚委谓伪喂 伪蠀蟿慰伪谓伪蠁慰蟻喂魏蠈 渭蔚 魏蠉蟻喂慰 维尉慰谓伪 蟿慰蠀蟼 未蔚蟽渭慰蠉蟼 蠁喂位委伪蟼 蟿慰蠀 位慰纬慰蟿苇蠂谓畏 渭蔚 蟿慰谓 蟺伪喂未喂魏蠈 蟿慰蠀 蠁委位慰 C茅zanne, 慰喂 未蠀慰 蟿慰蠀蟼 蟺蔚蟻喂蟽蟿慰喂蠂喂蟽渭苇谓慰喂 伪蟺蠈 维位位慰蠀蟼 蠁委位慰蠀蟼 魏伪位位喂蟿苇蠂谓蔚蟼 蟽蔚 苇谓伪 螤伪蟻委蟽喂 蠈蟺慰蠀 蟿伪 渭蟺喂蟽蟿蟻蠈 蔚委谓伪喂 蟿蠈蟺慰蟼 蟽蠀谓维谓蟿畏蟽畏蟼 魏伪喂 渭慰喂蟻维蟽渭伪蟿慰蟼, 蟿慰 纬魏维味喂 魏伪喂 慰喂 位维渭蟺蔚蟼 蟺蔚蟿蟻蔚位伪委慰蠀 渭蔚蟿维 尾委伪蟼 味蔚蟽蟿伪委谓慰蠀谓 蟿伪 谓慰喂魏喂伪蟽渭苇谓伪 伪蟿蔚位喂苇 蟿蠅谓 味蠅纬蟻维蠁蠅谓 魏伪喂 慰 喂渭蟺蟻蔚蟽喂慰谓喂蟽渭蠈蟼 尾纬维味蔚喂 未蔚喂位维 蟿慰 魏蔚蠁维位喂 蟿慰蠀 蠅蟼 魏伪喂谓慰蟿蠈渭伪 渭伪蟿喂维, 蠅蟼 蔚蟺伪谓伪蟽蟿伪蟿喂魏蠈 蟻蔚蠉渭伪. 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿畏谓 魏伪位位喂蟿蔚蠂谓喂魏萎 蟿慰蠀蟼 蟺慰蟻蔚委伪, 喂未委蠅蟼 伪蠀蟿萎蟼 蟿慰蠀 味蠅纬蟻维蠁慰蠀 蟺慰蠀 伪纬蠅谓喂维 魏伪喂 渭伪蟿蠋谓蔚喂 纬喂伪 谓伪 魏伪蟿伪蠁苇蟻蔚喂 伪蠀蟿蠈 蟺慰蠀 蠁伪谓蟿维味蔚喂 伪魏伪蟿蠈蟻胃蠅蟿慰, 蟿畏 未畏渭喂慰蠀蟻纬委伪 蟿慰蠀 魏伪位蠉蟿蔚蟻慰蠀 魏伪喂 蟺喂慰 维尉喂慰蠀 蟺委谓伪魏维 蟿慰蠀, 蠂蠅蟻委蟼 蔚魏蟺蟿蠋蟽蔚喂蟼 蟽蟿慰 蟿伪位苇谓蟿慰 蟿慰蠀 魏伪喂 蟿喂蟼 蠁蟻苇蟽魏喂蔚蟼 喂未苇蔚蟼 蟿慰蠀, 渭蔚 渭喂伪 蔚蟺喂渭慰谓萎 蟺慰蠀 纬委谓蔚蟿伪喂 蟽蟿伪未喂伪魏维 蔚渭渭慰谓萎 蟺慰蠀 蟿慰谓 蟽蟿慰喂蠂蔚喂蠋谓蔚喂. 螒蠀蟿萎 畏 蔚渭渭慰谓萎 蟿慰谓 伪蟺慰蠂伪蠀谓蠋谓蔚喂 位委纬慰-位委纬慰, 纬委谓蔚蟿伪喂 畏 尾伪蟻喂维, 伪蟽萎魏蠅蟿畏 蟽魏喂维 蟺慰蠀 蟿慰谓 伪魏慰位慰蠀胃蔚委 蟽蔚 魏维胃蔚 蟿慰蠀 尾萎渭伪 魏伪喂 蠈谓蔚喂蟻慰, 渭苇蠂蟻喂 蟿慰谓 胃维谓伪蟿慰.
螣 蔚位蔚蠉胃蔚蟻慰蟼 尾畏渭伪蟿喂蟽渭蠈蟼 蔚谓蠈蟼 谓苇慰蠀 蟿伪位伪谓蟿慰蠉蠂慰蠀 魏伪位位喂蟿苇蠂谓畏 蟽魏慰谓蟿维蠁蟿蔚喂 蟺维谓蠅 蟽蟿畏谓 伪蠀蟽蟿畏蟻萎 魏伪喂 蟽蟿蔚委蟻伪 纬蟻伪渭渭萎 渭喂伪蟼 蟺蔚蟺伪蟿畏渭苇谓畏蟼, 蟿畏蟼 蔚纬魏维胃蔚蟿畏蟼, 伪蟺蠈 魏伪胃苇蟻未伪蟼, 纬蟻伪渭渭萎蟼 蟺慰蠀 未委谓蔚蟿伪喂 苇蟿慰喂渭畏 蟺蟻慰蟼 渭委渭畏蟽畏 伪蟺蠈 蟿慰蠀蟼 未伪蟽魏维位慰蠀蟼. 螝伪喂 蔚魏蔚委 未畏渭喂慰蠀蟻纬蔚委蟿伪喂 渭喂伪 蟻蠅纬渭萎 蟽蟿慰 蠂蟻蠈谓慰, 蟿慰 蟿伪位苇谓蟿慰 伪谓伪蠁位苇纬蔚蟿伪喂, 伪谓蟿喂未蟻维, 蟿喂谓维味蔚蟿伪喂 蟺委蟽蠅 魏伪喂 蟽蟿蟻委尾蔚喂 纬喂伪 谓伪 蠂伪蟻维尉蔚喂 蟿畏 未喂魏萎 蟿慰蠀 蟿蟻慰蠂喂维. 螣 未蟻蠈渭慰蟼 伪蠀蟿蠈蟼 魏维胃蔚 维位位慰 蟺伪蟻维 渭蔚 位慰蠀位慰蠉未喂伪 蔚委谓伪喂 蟽蟺伪蟻渭苇谓慰蟼 纬喂伪蟿委 畏 渭伪蟿伪喂慰未慰尉委伪 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏 纬委谓蔚蟿伪喂 蟿慰 魏蔚谓蟿蟻委 蟺慰蠀 蟽蟿蟻苇蠁蔚蟿伪喂 魏伪喂 蟿慰谓 未畏位畏蟿畏蟻喂维味蔚喂 蟽蔚 魏维胃蔚 蟿慰蠀 尾萎渭伪. 螚 伪纬蠅谓委伪 蟿慰蠀 魏伪喂 蟿慰 蔚蟽蠅蟿蔚蟻喂魏蠈 蟿慰蠀 维纬蠂慰蟼 渭伪蟼 未喂伪蟺蔚蟻谓维 蟽伪谓 蟻蔚蠉渭伪, 慰 蔚蟻蔚胃喂蟽渭蠈蟼 蟿慰蠀 蔚委谓伪喂 蟽蠂蔚未蠈谓 渭蠈谓喂渭慰蟼, 慰 未喂伪魏伪萎蟼 蟿慰蠀 蟺蠈胃慰蟼 谓伪 伪纬纬委尉蔚喂 蟿慰 喂未蔚蠋未蔚蟼 蟿慰谓 魏伪蟿伪位伪渭尾维谓蔚喂 蟽伪谓 未伪委渭慰谓伪蟼. 螌蟺蠅蟼 慰喂 味畏蟿喂维谓慰喂 蟺慰蠀 蟿蔚委谓慰蠀谓 蟺伪蟻伪魏位畏蟿喂魏维 蟿慰 蠂苇蟻喂 蟽蟿慰谓 蟺蔚蟻伪蟽蟿喂魏蠈 喂魏蔚蟿蔚蠉慰谓蟿伪蟼 纬喂伪 蔚位蔚畏渭慰蟽蠉谓畏, 慰 魏伪位位喂蟿苇蠂谓畏蟼 蟿蔚委谓蔚喂 蟿慰 未喂魏蠈 蟿慰蠀 蠂苇蟻喂 蟺蟻慰蟼 蟿慰 维蟺喂伪蟽蟿慰 蔚魏位喂蟺伪蟻蠋谓蟿伪蟼 纬喂伪 蟿畏 胃蔚委伪 苇渭蟺谓蔚蠀蟽畏 蟺慰蠀 胃伪 蟿慰蠀 蟺蟻慰蟽蠁苇蟻蔚喂 蟿慰 蟿苇位蔚喂慰, 蟿慰 维蟻喂蟽蟿慰 蟺慰蠀 伪谓伪味畏蟿维.
螣喂 魏伪位位喂蟿苇蠂谓蔚蟼 蟿畏蟼 伪蠁萎纬畏蟽畏蟼, 慰 螝位蠅谓蟿 (Cezanne), 慰 危伪谓蟿蠈味 (Zola), 慰 螡蟿蠀渭蟺蠉蟼, 慰 螠伪慰蠀谓蟿蠋, 慰 危蔚谓, 慰 桅伪味蟻蠈位, 尉蔚魏喂谓慰蠉谓 渭伪味委 蟿畏谓 蟺慰蟻蔚委伪 蟿慰蠀蟼 魏伪喂 渭慰喂维味蔚喂 谓伪 蟺委谓慰蠀谓 谓蔚蟻蠈 蟽蟿慰 蠈谓慰渭伪 蟿畏蟼 蠁喂位委伪蟼 蟺慰蠀 蟿慰蠀蟼 蟽蠀谓未苇蔚喂 蟽伪谓 喂蔚蟻蠈 魏伪喂 蟽蟿苇蟻蔚慰 蟽蠀纬魏慰位位畏蟿喂魏蠈 蠀位喂魏蠈. 螠慰喂蟻维味慰谓蟿伪喂 蟿伪 蟺维胃畏 蟿慰蠀蟼, 伪谓蟿伪位位维蟽蟽慰蠀谓 渭慰谓蟿苇位伪 蟺慰蠀 蟽蟿萎谓慰谓蟿伪喂 纬蠀渭谓维 蟽蟿伪 伪蟿蔚位喂苇 蟿慰蠀蟼, 蟿伪 尾萎渭伪蟿维 蟿慰蠀蟼 慰未畏纬慰蠉谓蟿伪喂 蔚谓蟽蟿喂魏蟿蠅未蠋蟼 蟽蟿伪 蟽蟿苇魏喂伪 蠈蟺慰蠀 胃伪 蟽蠀谓伪谓蟿萎蟽慰蠀谓 蟿慰蠀蟼 蟽蠀谓蟿蟻蠈蠁慰蠀蟼 蟿慰蠀蟼, 谓伪 渭慰喂蟻伪蟽蟿慰蠉谓 蟿喂蟼 蔚蟽蠅蟿蔚蟻喂魏苇蟼 蟿慰蠀蟼 伪谓伪味畏蟿萎蟽蔚喂蟼. 螆谓伪 蠈蟻纬喂慰 苇渭蟺谓蔚蠀蟽畏蟼 魏伪喂 慰蟻渭萎蟼 蔚委谓伪喂 蟿慰 魏维未蟻慰 渭苇蟽伪 伪蟺蠈 蟿慰 慰蟺慰委慰 蔚蠁慰蟻渭维 畏 喂蟽蟿慰蟻委伪. 螌渭蠅蟼 慰 魏伪位位喂蟿苇蠂谓畏蟼 蠈蟽慰 魏喂 伪谓 伪谓萎魏蔚喂 魏慰喂谓蠅谓喂魏维 蟽蔚 苇谓伪 蟽蠉谓慰位慰 维位位蠅谓 慰渭蠈蟿蔚蠂谓蠋谓 蟿慰蠀 萎 魏伪喂 蠈蠂喂, 蟺伪蟻伪渭苇谓蔚喂 渭喂伪 渭慰谓萎蟻畏蟼 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪 蟺慰蠀 味蔚喂 渭慰谓伪蠂喂魏维 蟿慰 未喂魏蠈 蟿慰蠀 蟺蟻慰蟽蠅蟺喂魏蠈 未蟻维渭伪, 渭蔚 蟿慰谓 未喂魏蠈 蟿慰蠀 蟺蟻慰蟽蠅蟺喂魏蠈 未蟻伪渭伪蟿喂魏蠈 蟿蟻蠈蟺慰. 螝喂 苇蟿蟽喂 伪位委渭慰谓慰, 蠈位伪 伪蠀蟿维 蟺蔚蟻委 蟽蠀谓蟿蟻慰蠁喂魏蠈蟿畏蟿伪蟼 未蔚谓 蔚委谓伪喂 蟺伪蟻维 渭喂伪 蠄蔚蠀未伪委蟽胃畏蟽畏. 螤蔚蟻谓蠋谓蟿伪蟼 伪蟺蠈 蟿慰谓 蟽蟿蔚谓蠈 未喂维未蟻慰渭慰 蟿畏蟼 渭伪蟿伪喂慰未慰尉委伪蟼, 蠂蠅蟻维蔚喂 渭蠈谓慰 苇谓伪蟼 蟿畏 蠁慰蟻维, 蟽蠀谓胃位委尾慰谓蟿伪蟼 蟿畏 蠂蟻蠀蟽萎 伪位蠀蟽委未伪 蟿畏蟼 蠁喂位委伪蟼 蟺慰蠀 蟿慰蠀蟼 蔚谓蠋谓蔚喂. 螣喂 未蔚蟽渭慰委 伪蟻伪喂蠋谓慰蠀谓 渭苇蟽伪 蟽蟿慰 蠀纬蟻蠈 蟿慰蠀 维纬蟻喂慰蠀 伪谓蟿伪纬蠅谓喂蟽渭慰蠉, 蟽蟺维谓蔚 蟽伪谓 蔚蠉胃蟻伪蠀蟽蟿伪 未喂维蟿蟻畏蟿伪 魏蠈魏伪位伪 魏伪喂 渭苇谓蔚喂 谓伪 魏慰喂蟿维渭蔚 蟿畏 蟽魏蠈谓畏 蟿慰蠀蟼 蟺慰蠀 蟽魏慰蟻蟺委味蔚喂.
芦螤蟻慰蟼 蟿喂 伪蠀蟿蠈蟼 慰 渭维蟿伪喂慰蟼 伪谓伪尾蟻伪蟽渭蠈蟼, 伪谓 慰 维谓蔚渭慰蟼 蟺委蟽蠅 伪蟺蠈 蟿慰谓 维谓胃蟻蠅蟺慰 蟺慰蠀 蟺蔚蟻蟺伪蟿维蔚喂, 蟽伪蟻蠋谓蔚喂 魏伪喂 蟺伪委蟻谓蔚喂 渭伪味委 蟿慰蠀 蟿伪 委蠂谓畏 蟿慰蠀; 韦慰 蔚委蠂蔚 谓喂蠋蟽蔚喂 伪蟺蠈 蟺蟻喂谓 蟺蠅蟼 未蔚谓 苇蟺蟻蔚蟺蔚 谓伪 蔚蟺喂蟽蟿蟻苇蠄蔚喂 蔚魏蔚委, 未喂蠈蟿喂 蟿慰 蟺伪蟻蔚位胃蠈谓 未蔚谓 蔚委谓伪喂 蟺伪蟻维 蟿慰 魏慰喂渭畏蟿萎蟻喂慰 蟿蠅谓 蠄蔚蠀未伪喂蟽胃萎蟽蔚蠋谓 渭伪蟼 魏伪喂 蟽蟺维蔚喂 魏伪谓蔚委蟼 蟿伪 蟺蠈未喂伪 蟿慰蠀 伪谓维渭蔚蟽伪 蟽蟿慰蠀蟼 蟿维蠁慰蠀蟼.禄
螣蟻纬伪蟽渭蠈蟼 蟿苇蠂谓畏蟼 伪谓伪尾位蠉味蔚喂 伪蟺蠈 蟿畏谓 伪蠁萎纬畏蟽畏 魏伪喂 慰 伪谓伪纬谓蠋蟽蟿畏蟼 蔚委谓伪喂 蟽蔚 蟺蔚蟻委慰蟺蟿畏 胃苇蟽畏 渭蟺蟻慰蟽蟿维 蟽蟿慰 蟺伪谓蠈蟻伪渭伪 蟿慰蠀 螤伪蟻喂蟽喂慰蠉 蟿蠅谓 蟿蔚蠂谓蠋谓 蟿慰蠀 19慰蠀 伪喂蠋谓伪, 伪蠀蟿慰蠉 蟿蠅谓 危伪位慰谓喂蠋谓 韦苇蠂谓畏蟼 蠈蟺慰蠀 畏 未蟻伪蟽蟿畏蟻喂蠈蟿畏蟿伪 蔚委谓伪喂 伪蟽蟿伪渭维蟿畏蟿畏, 慰喂 蠁位苇尾蔚蟼 蟿慰蠀 危畏魏慰蠀维谓伪 蟺维位位慰谓蟿伪喂 渭蟺蟻慰蟽蟿维 蟿慰蠀 魏伪喂 慰喂 纬苇蠁蠀蟻蔚蟼 蟺慰蠀 蠂蠅蟻委味慰蠀谓 蟿畏 未蠀蟿喂魏萎 伪蟺蠈 蟿畏谓 伪蟻喂蟽蟿蔚蟻萎 蠈蠂胃畏 未蔚蟽蟺蠈味慰蠀谓 渭蟺蟻慰蟽蟿维 蟽蟿慰 尾位苇渭渭伪 魏伪喂 蟿慰 蠂慰蟻蟿伪委谓慰蠀谓 蔚喂魏蠈谓蔚蟼 蟿畏蟼 蔚蟺慰蠂萎蟼.
危蟿慰 未畏渭喂慰蠉蟻纬畏渭伪 尉蔚魏喂谓维渭蔚 渭蔚 渭喂伪 魏维蠄伪 魏伪喂 渭喂伪 蟺蠀蟻蔚蟿蠋未畏 蟺慰蟻蟿慰魏伪位喂维 胃苇蟻渭畏 魏伪喂 渭蔚蟿伪尾伪委谓慰蠀渭蔚, 蟽喂纬维-蟽喂纬维, 蟽蟿慰 伪蟺蠈位蠀蟿慰 蠄蠉蠂慰蟼 魏伪喂 蟿畏谓 蟺伪纬蔚蟻萎 位蔚蠀魏蠈蟿畏蟿伪 蟿慰蠀 胃伪谓维蟿慰蠀, 魏伪喂 蟿慰 伪谓蟿喂位伪渭尾伪谓蠈渭伪蟽蟿蔚 蠈蟿伪谓 蔚委谓伪喂 蟺喂伪 伪蟻纬维, 蠈蟿伪谓 苇蠂蔚喂 蟺喂伪 蔚蟺苇位胃蔚喂 畏 伪蟺蠈位蠀蟿畏 魏伪蟿伪蟽蟿蟻慰蠁萎 谓伪 渭伪蟼 蟽蠀谓蟿蟻委蠄蔚喂.
螌蟽慰 蟿蔚位蔚委蟿伪喂 畏 渭蔚蟿维尾伪蟽畏 伪蟺蠈 蟿慰 胃蔚蟿喂魏蠈 蟽蟿慰 伪蟻谓畏蟿喂魏蠈 蠁慰蟻蟿委慰 蟿畏蟼 喂蟽蟿慰蟻委伪蟼, 纬喂谓蠈渭伪蟽蟿蔚 慰喂 伪尾慰萎胃畏蟿慰喂 渭维蟻蟿蠀蟻蔚蟼 渭喂伪蟼 伪谓伪渭苇蟿蟻畏蟽畏蟼. 螚 蟿慰渭萎 蔚委谓伪喂 蔚纬魏维蟻蟽喂伪, 蟺喂维谓蔚喂 蟿伪 味蠅蟿喂魏维 渭伪蟼 蠈蟻纬伪谓伪, 未蔚 渭伪蟼 伪蠁萎谓蔚喂 伪位蠋尾畏蟿慰蠀蟼. 螠苇谓慰蠀渭蔚 渭蔚蟿苇蠅蟻慰喂 谓伪 魏慰喂蟿维渭蔚 蟿慰 未蟻维渭伪 魏伪喂 蟿伪 魏慰渭渭维蟿喂伪 蟺慰蠀 伪蠁萎谓蔚喂 未喂维蟽蟺伪蟻蟿伪 纬蠉蟻蠅 渭伪蟼, 伪渭萎蠂伪谓慰喂, 伪蟺慰位蠉蟿蠅蟼 伪谓委魏伪谓慰喂 谓伪 蟿伪 魏慰位位萎蟽慰蠀渭蔚 尉伪谓维. 螔位苇蟺慰蠀渭蔚, 谓喂蠋胃慰蠀渭蔚, 渭伪 伪未蠀谓伪蟿慰蠉渭蔚 谓伪 尾慰畏胃萎蟽慰蠀渭蔚. 惟未委谓蔚蟼 纬苇谓谓伪蟼 未喂伪魏伪蟿苇蠂慰蠀谓 蟿慰谓 味蠅纬蟻维蠁慰, 渭喂伪 纬苇谓谓伪 蟺慰蠀 伪未蠀谓伪蟿蔚委 谓伪 苇蟻胃蔚喂 蟽蔚 蟺苇蟻伪蟼路 伪蟻纬蠈蟼 胃维谓伪蟿慰蟼 纬喂伪 蟿畏 纬蠀谓伪委魏伪-渭慰谓蟿苇位慰 蟺慰蠀 慰 蟻蠈位慰蟼 蟿畏蟼 蠅蟼 纬蠀谓伪委魏伪蟼 蟿慰蠀 味蠅纬蟻维蠁慰蠀 蔚尉伪蠇位蠋谓蔚蟿伪喂 纬喂伪 谓伪 魏蔚蟻未委蟽蔚喂 魏伪蟿维 魏蟻维蟿慰蟼 慰 蟻蠈位慰蟼 蟿畏蟼 蠅蟼 畏 魏蔚谓蟿蟻喂魏萎 渭慰蟻蠁萎 蟿慰蠀 未畏渭喂慰蠀蟻纬萎渭伪蟿蠈蟼 蟿慰蠀. 螚 慰位慰味蠋谓蟿伪谓畏 纬蠀谓伪委魏伪 蟽尾萎谓蔚喂 蟽蟿伪未喂伪魏维 伪蟺蠈 蟿慰谓 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏蠈 蠂维蟻蟿畏 蟿慰蠀 味蠅纬蟻维蠁慰蠀 蔚谓蠋 畏 渭慰蟻蠁萎 蟿慰蠀 蟺委谓伪魏伪 蔚委谓伪喂 蔚魏蔚委谓畏 蟺慰蠀 蠀蠄蠋谓蔚蟿伪喂 蟽蔚 伪谓蟿喂魏蔚委渭蔚谓慰 位伪蟿蟻蔚委伪蟼. 螚 伪谓蟿喂味畏位委伪 蟿畏蟼 纬蠀谓伪委魏伪蟼 蟽蟿蟻苇蠁蔚蟿伪喂 蟺蟻慰蟼 蟿慰 维蠀位慰 蟺慰蟻蟿蟻苇蟿慰 蟿畏蟼 渭苇蟽伪 蟽蔚 渭喂伪 蟺伪蟻伪蠁蟻慰蟽蠉谓畏, 蔚蠂胃蟻蠈蟼 蟿畏蟼 蔚委谓伪喂 慰 委未喂慰蟼 蟿畏蟼 慰 蔚伪蠀蟿蠈蟼 蟺慰蠀 蟽蟿萎胃畏魏蔚 魏维蟺慰蟿蔚 蠅蟼 渭慰谓蟿苇位慰 渭蟺蟻慰蟽蟿维 蟽蟿慰谓 魏伪位位喂蟿苇蠂谓畏, 未委谓慰谓蟿维蟼 蟿慰蠀 蠈,蟿喂 蟺喂慰 伪魏蟻喂尾蠈 伪蟺蠈 蟿畏谓 委未喂伪, 蟺蟻慰蟽蠁苇蟻慰谓蟿伪蟼 蟿慰谓 蔚伪蠀蟿蠈 蟿畏蟼 慰位慰魏位畏蟻蠅蟿喂魏维, 蟺谓喂纬渭苇谓畏 伪蟺蠈 苇蟻蠅蟿伪.
螣 苇蟻蠅蟿伪蟼 蟿畏蟼 螝蟻喂蟽蟿委谓, 蟿畏蟼 位伪蟿蟻蔚渭苇谓畏蟼 纬蠀谓伪委魏伪蟼 蟿慰蠀 螝位蠅谓蟿, 蟽蟺维蔚喂 魏蠈魏伪位伪, 蔚委谓伪喂 魏蟻伪蠀纬伪位苇慰蟼, 慰 伪谓伪纬谓蠋蟽蟿畏蟼 蟽蠂蔚未蠈谓 蟿慰谓 味畏位蔚蠉蔚喂, 伪魏蠈渭伪 魏伪喂 慰 蟺喂慰 伪蟺慰蟽蟿蔚纬谓蠅渭苇谓慰蟼 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏维 胃伪 蟽蟿伪胃蔚委 蠈蟻胃喂慰蟼 渭蔚 蟿伪 蟽蠀谓伪喂蟽胃萎渭伪蟿维 蟿慰蠀 尉伪谓伪渭蟺慰蠀渭蟺慰蠀魏喂伪蟽渭苇谓伪, 伪谓伪蟽蟿畏渭苇谓慰蟼 伪蟺蠈 蟿畏谓 伪蟺慰谓苇魏蟻蠅蟽萎 蟿慰蠀. 螌渭蠅蟼 伪蠀蟿蠈蟼 纬委谓蔚蟿伪喂 蠁蠅蟿喂维 魏伪喂 蟿畏谓 蟺蠀蟻蠋谓蔚喂, 渭苇蠂蟻喂 谓伪 蟿畏谓 魏维蠄蔚喂 慰位慰蟽蠂蔚蟻蠋蟼. 螣 苇蟻蠅蟿伪蟼 蟿萎蟼 尉蔚蠁蔚蠉纬蔚喂, 纬位喂蟽蟿蟻维蔚喂 蟺委蟽蠅 渭蔚 蟿畏谓 委未喂伪 慰蟻渭萎 蟺慰蠀 未蠈胃畏魏蔚, 蠈蟺蠅蟼 畏 维渭蟺蠅蟿畏, 蟺慰蠀 蟻慰蠀蠁维蔚喂 蟺委蟽蠅 蠈位慰 蟿慰 谓蔚蟻蠈 蟺慰蠀 纬苇渭喂蟽蔚 畏 蟺位畏渭渭蠀蟻委未伪.
螚 蟺慰蟻蔚委伪 蟿慰蠀 尾喂尾位委慰蠀 蔚委谓伪喂 魏伪胃慰未喂魏萎, 尾慰蠀位喂维味慰蠀渭蔚 蟽蟿慰谓 尉蔚蟺蔚蟽渭蠈 蠈位蠅谓 蟿蠅谓 伪尉喂蠋谓, 渭苇蟽伪 蟽蔚 渭喂伪 蟽蠀谓蟿蔚位蔚蟽渭苇谓畏 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏萎 蠂蟻蔚慰魏慰蟺委伪 -蠈蟺蠅蟼 伪谓伪蠁苇蟻蔚喂 慰 委未喂慰蟼 慰 Zola- 蠁蟿蠅蠂蠈蟿蔚蟻慰喂, 伪谓萎渭蟺慰蟻慰喂, 蟺伪纬蠅渭苇谓慰喂.
螝位蔚委谓慰谓蟿伪蟼 蟿慰 尾喂尾位委慰 伪谓伪蠁蠋谓畏蟽伪 苇魏胃伪渭尾畏, 渭蔚 渭蔚胃蠀蟽蟿喂魏蠈 蔚谓胃慰蠀蟽喂伪蟽渭蠈, 蟺蠅蟼 胃伪 萎胃蔚位伪 魏喂 维位位慰, 魏喂 维位位畏 位慰纬慰蟿蔚蠂谓委伪 蟽伪谓 蟿慰蠀 螙慰位维, 蟿蠈蟽慰 蟺位慰蠉蟽喂伪 蟽蔚 位蠈纬慰 魏伪喂 蔚喂魏蠈谓蔚蟼, 蟿蠈蟽慰 伪蟻喂蟽蟿慰蠀蟻纬畏渭伪蟿喂魏维 蔚魏蟿蔚位蔚蟽渭苇谓畏.
螣 螙慰位维 苇蠁蟿喂伪尉蔚 蟿慰 未喂魏蠈 蟿慰蠀 未畏渭喂慰蠉蟻纬畏渭伪, 苇谓伪 苇蟻纬慰 渭苇蟽伪 蟽蔚 苇蟻纬慰, 苇谓伪 苇蟻纬慰 蟿苇蠂谓畏蟼 蟺慰蠀 尉蔚蠂蔚喂位委味蔚喂 伪蟺蠈 蟿苇蠂谓畏, 蟺慰蠀 蔚渭蟺蔚蟻喂苇蠂蔚喂 蟿畏谓 蟿苇蠂谓畏 魏伪喂 蠈蟺慰蠀 苇谓伪 蟽蟺喂谓胃畏蟻慰尾蠈位慰 魏伪喂 慰尉蠀未蔚蟻魏苇蟼 蠄蠀蠂慰纬蟻维蠁畏渭伪 慰蟻喂蟽渭苇谓蠅谓 伪谓胃蟻蠋蟺蠅谓 伪位位维 魏伪喂 渭喂伪蟼 蔚蟺慰蠂萎蟼 尉蔚蟿蠀位委纬蔚蟿伪喂 未蟻伪渭伪蟿喂魏维 渭蟺蟻慰蟽蟿维 蟽蟿伪 渭维蟿喂伪 渭伪蟼. 危蟿慰谓 螙慰位维 蠀蟺维蟻蠂蔚喂 渭喂伪 未喂伪蠁维谓蔚喂伪 蟽蟿畏 纬蟻伪蠁萎, 蠈位伪 蟺蟻伪纬渭伪蟿蔚蠉慰谓蟿伪喂 渭苇蟽蠅 蔚谓蠈蟼 蟽喂-胃蟻慰蠀 伪魏蟻喂尾慰蠉, 胃伪蟻蟻蔚委蟼, 蟺苇蟺位慰蠀 蟺慰蠀 未蔚谓 魏伪位蠉蟺蟿蔚喂 蟺伪蟻维 伪蟺慰魏伪位蠉蟺蟿蔚喂 魏伪喂 渭苇蟽蠅 伪蠀蟿慰蠉 未喂伪蠁伪委谓慰谓蟿伪喂 尉维蟽蟿蔚蟻蔚蟼 魏伪喂 位伪渭蟺蔚蟻苇蟼 蠈位蔚蟼 慰喂 伪蟺慰蠂蟻蠋蟽蔚喂蟼 蟿蠅谓 蟺蟻慰蟽蠋蟺蠅谓 魏伪喂 蟿蠅谓 魏伪蟿伪蟽蟿维蟽蔚蠅谓, 伪魏蠈渭伪 魏伪喂 慰喂 蟺喂慰 位蔚蟺蟿苇蟼, 慰喂 蟺喂慰 伪蠈蟻伪蟿蔚蟼. 螚 慰蟻渭萎 魏伪喂 畏 味蠅谓蟿维谓喂伪 蟿慰蠀 位蠈纬慰蠀 蟽蠀谓未蟻维渭蔚喂 伪蠀蟿萎 蟿蠅谓 纬蔚纬慰谓蠈蟿蠅谓 鈥撐何蔽� 蟿慰 伪谓蟿委胃蔚蟿慰鈥� 魏伪喂 蟿慰 伪蟺慰蟿苇位蔚蟽渭伪 蔚委谓伪喂 胃伪蠀渭伪蟽蟿蠈.
韦喂 渭苇谓蔚喂 蟽蟿慰 蟿苇位慰蟼 蟿慰蠀 未畏渭喂慰蠀蟻纬萎渭伪蟿慰蟼, 渭蔚蟿维 蟿畏谓 魏伪蟿伪蟽蟿蟻慰蠁萎 蟿蔚位喂魏维; 螠苇谓蔚喂 伪喂蠋谓喂伪 畏 味蠅纬蟻伪蠁喂魏萎 蟿慰蠀 C茅zanne, 蟿伪 纬蟻伪蟺蟿维 蟿慰蠀 Zola 魏伪喂 蟿伪 苇蟻纬伪 蠈位蠅谓 蟿蠅谓 蠀蟺慰位慰委蟺蠅谓 谓伪 味蔚蟽蟿伪委谓慰蠀谓 蟿慰 魏慰喂谓蠈, 蟿畏 渭喂伪 纬蔚谓喂维 渭蔚蟿维 蟿畏谓 维位位畏, 伪苇谓伪伪, 蠂蠅蟻委蟼 蟽蟿伪渭伪蟿畏渭蠈, 渭苇蟽伪 蟽蟿畏谓 魏慰喂谓蠈蠂蟻畏蟽蟿畏 胃维位伪蟽蟽伪 蟿畏蟼 蟿苇蠂谓畏蟼 蠈蟺慰蠀 魏伪谓蔚委蟼 渭蟺慰蟻蔚委 谓伪 魏慰位蠀渭蟺萎蟽蔚喂 蔚位蔚蠉胃蔚蟻伪 魏伪喂 谓伪 蟺喂蔚喂 蠈蟽慰 胃苇位蔚喂.
*螚 渭蔚蟿维蠁蟻伪蟽畏 蟿蠅谓 蔚魏未蠈蟽蔚蠅谓 螝伪蟽蟿伪谓喂蠋蟿畏 萎蟿伪谓 伪蠄蔚纬维未喂伪蟽蟿畏, 魏伪胃蠋蟼 魏伪喂 蟿慰 蔚蟺委渭蔚蟿蟻慰, 苇谓伪 渭喂魏蟻蠈 蔚蠉蟽蟿慰蠂慰 蟽蠂蠈位喂慰 蟺维谓蠅 蟽蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 苇蟻纬慰.
March 14, 2020
L'arte 猫 vita, 猫 gioia, 猫 miracolo. 脠 un benefico confronto con se stessi e una straordinaria opportunit脿 di crescita individuale e spirituale. Ma il continuo confronto con la tela bianca e la portata di un'ispirazione che sembra sempre porsi ben al di l脿 delle nostre capacit脿 artistiche, pu貌 anche condurre a rasentar la follia...
July 20, 2014
"The Masterpiece" is itself a masterpiece from Emile Zola about the utter anguish of an artist over the gap between life and art. Claude is a French artist living in Paris when naturalism was just beginning to give way to Impressionism. By a naturalist we mean "one who studies nature" itself in the same way in which Seamus Heaney wrote in "The Death of a Naturalist" and the depiction of nature in a strictly natural way: that is, the quest of the artist was to show life within nature through a photographic verisimilitude or realism. Imagine being Paul Cezanne, Claude Monet, Camille Pissarro, Edouard Manet at the outset of the Impressionist Movement, which at the time of this novel, was widely considered as laughable. In this novel the protagonist, Claude, has devoted his entire life to the creation of a masterpiece of art accepted by the Salon, patrons, art dealers, art critics and general public of Parisian society. Claude meets with artistic rejection at every turn as portrayed by his friend, Sandoz, an up and coming novelist, who is thinly veiled as Zola himself. Novels like the painting of the day were judged by standards of realism: the work was of the highest quality only if it captured life itself in a realistic and natural setting. For example, Henry James wrote his works at the same time as Zola and the literary styles seek to capture the nuances of setting and characters and action in realistic ways. Sentences flow in traditional style with subjects and predicates nicely arranged and without stylistic breakthroughs which would follow from James Joyce. Claude is obsessed with perfection in his art and is willing to go to any artistic length to seek to achieve it. He and his family endure the most dire poverty in pursuit of his aim and his wife suffers more than he does in support of his artistic ambitions. But poor Claude is rejected everywhere by most who fail to recognize the real artistic genius which his fellow artists and Sandoz clearly see as luminous within him. He wonders if it is better to live and die unknown than to suffer the sacrifices he has made for his art. "Immortality at present depends entirely on the average middle-class mind and is reserved only for the names that have been most forcefully impressed upon us while we were still unable to defend ourselves," Zola writes. A painting that he has produced for exhibition by Salon society in Paris causes howls of laughter by those observing it. He has little faith that posterity will judge his art more kindly: "Suppose the artist's paradise turned out to be non-existent and future generations proved just as misguided as the present one and persisted in liking pretty-pretty dabbling better than honest-to-goodness painting! What a cheat for us all, to have lived like slaves, noses to the grindstone all to no purpose." What about those whom the public deem to be great artists? Will their work survive them? "There is only one way of working and being happy at the same time, and that is never to rely on either good faith or justice. And if you want to prove you're right, you've got to die first." The critics are always throwing brickbats, not only at Claude, but also at Sandoz who after a terrible review by a close friend who is an editor responds by telling him: "Since my enemies are beginning to sing my praises, there are only my friends to run me down." At one point toward the end of his life Claude laments the pointlessness and futility of his artistic genius: "It's so pointless, isn't it? And that's what is so revolting about it. If you can't be a good painter, we still have life! Ah, life, life!" But there is little Claude can do except to continue to paint: "Art is the master, my master, to dispose of me as it pleases. If I stopped painting it would kill me all the same, so I prefer to die painting. My own will doesn't really enter into it." He has a vision of a style of art which is to come and dominate the art world but which no one else of his era can see and so he is compelled to suffer for it: "Will people understand that anyone who produces something new, and that's an honor that doesn't come to everybody, anyone who produces something new is bound to depart from received wisdom." Zola's dim and dire tale based upon his own suffering but ultimate success of his novels during his own lifetime seem to affirm: "Nothing is ever completely wasted, and there's simply got to be light!...We are not an end: we are a transition, the beginning only of something new." "The Masterpiece" is an imperfect work but so is all art, as Sandoz (Zola) writes as the narrator of the entire story: " You have to make do with half-measures in this life... My books, for example: I can polish and revise them as much as I like, but in the end I always despise myself for their being, in spite of my efforts, so incomplete, so untrue to life." This is the story of a painter whose paintings remain un-hung, whose life becomes unhinged and whose whole being ultimately is a crucifixion. In the natural world this is the way of life and a realistic portrait of the artist in Paris according to Zola who did not live long enough to see the glorious realm of French Impressionism come into full bloom.
December 7, 2019
This is the story of a neurosis building up in a painter Zola has portrayed after Paul C茅zanne, with fine impressionnistic descriptions to boot.
Recommendations :
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L'histoire de Claude Lantier, peintre impressionniste inspir茅 par Paul C茅zanne, en proie 脿 un d茅traquement croissant 脿 mesure qu'avance l'histoire. Les descriptions sont tr猫s travaill茅es et fournies et, comme l'annonce la quatri猫me de couverture, Zola a mis beaucoup de lui-m锚me dans le personnage de Pierre Sandoz en particulier, et dans ce roman, plus largement.
Suggestions personnelles :
Recommendations :
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L'histoire de Claude Lantier, peintre impressionniste inspir茅 par Paul C茅zanne, en proie 脿 un d茅traquement croissant 脿 mesure qu'avance l'histoire. Les descriptions sont tr猫s travaill茅es et fournies et, comme l'annonce la quatri猫me de couverture, Zola a mis beaucoup de lui-m锚me dans le personnage de Pierre Sandoz en particulier, et dans ce roman, plus largement.
Suggestions personnelles :
September 16, 2016
韦慰 苇蠂蠅 蟺蔚喂 尉伪谓维 魏伪喂 胃伪 蟿慰 位苇蠅 蟽蠀谓苇蠂蔚喂伪: 慰 Emile Zola 蔚委谓伪喂 苇谓伪蟼 螤螣螞违 渭蔚纬维位慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼. 螠蔚 蟿畏 蟽蔚喂蟻维 蟿蠅谓 20 渭蠀胃喂蟽蟿慰蟻畏渭维蟿蠅谓 蟿慰蠀 渭蔚 蟿委蟿位慰 "Les rougon Macquart" 苇蠂蔚喂 魏伪蟿伪蠁苇蟻蔚喂 谓伪 伪蟺蔚喂魏慰谓委蟽蔚喂 慰位蠈魏位畏蟻畏 蟿畏 纬伪位位喂魏萎 魏慰喂谓蠅谓委伪 (蟺伪蟻喂蟽喂谓萎 魏伪喂 蔚蟺伪蟻蠂喂蠋蟿喂魏畏) 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿慰蠀. 螝伪胃苇谓伪 伪蟺蠈 伪蠀蟿维 蟿伪 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 魏伪蟿伪蟺喂维谓蔚蟿伪喂 魏伪喂 渭蔚 苇谓伪 未喂伪蠁慰蟻蔚蟿喂魏蠈 味萎蟿畏渭伪, 蠈蟺蠅蟼 蟺.蠂. 慰 伪位魏慰慰位喂蟽渭蠈蟼(韦伪尾苇蟻谓伪), 畏 韦苇蠂谓畏 (韦慰 未畏渭喂慰蠉蟻纬畏渭伪), 畏 渭伪蟿伪喂蠈蟿畏蟿伪(螚 蠂伪蟻维 蟿畏蟼 味蠅萎蟼), 畏 蔚魏渭蔚蟿维位位蔚蠀蟽畏 蟿畏蟼 蔚蟻纬伪蟿喂维蟼 (螙蔚蟻渭喂谓维位), 蟿慰 蠂蟻萎渭伪, 畏 纬畏, 畏 蠁蟿蠋蠂蔚喂伪, 畏 蟺慰位喂蟿喂魏萎, 畏 胃蟻畏蟽魏蔚委伪, 畏 渭蠈未伪, 畏 蠁蠉蟽畏, 畏 蠀纬蔚委伪, 畏 伪纬慰蟻维, 慰 蟺蠈位蔚渭慰蟼, 畏 蔚蟺伪谓维蟽蟿伪蟽畏, 畏 蟺慰蟻谓蔚委伪 (螡伪谓维). 螝伪蟿维 蟿畏 纬谓蠋渭畏 渭慰蠀 胃伪 苇蟺蟻蔚蟺蔚 蠈位伪 蟿伪 苇蟻纬伪 蟿慰蠀 谓伪 蠀蟺维蟻蠂慰蠀谓 渭蔚蟿伪蠁蟻伪蟽渭苇谓伪 蟽蟿伪 蔚位位畏谓喂魏维 魏喂 蠈蠂喂 谓伪 蟿伪 尾蟻委蟽魏蔚喂蟼 渭蔚 蟿慰 蟽蟿伪纬慰谓蠈渭蔚蟿蟻慰 蟽蔚 蟺伪位伪喂慰尾喂尾位喂慰蟺蠅位蔚委伪 魏喂 蠉蟽蟿蔚蟻伪 伪蟺蠈 伪蟻魏蔚蟿蠈 蠄维尉喂渭慰.
韦慰 "螖畏渭喂慰蠉蚁纬畏渭伪" 伪蟺慰蟿蠀蟺蠋谓蔚喂 蟿畏谓 蠄蠀蠂慰位慰纬委伪 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏 蟺慰蠀 伪纬蠅谓委味蔚蟿伪喂 魏伪喂 蟺伪位蔚蠉蔚喂 渭蔚 蟿慰谓 委未喂慰 蟿慰蠀 蟿慰谓 蔚伪蠀蟿蠈 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 未畏渭喂慰蠀蟻纬萎蟽蔚喂 伪蠀蟿蠈 蟿慰 蟺慰位蠀蟺蠈胃畏蟿慰 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 魏喂 伪蠀蟿蠈 未蔚谓 蔚委谓伪喂 伪蟺位维 渭喂伪 未委蠄伪 纬喂伪 未蠈尉伪 魏伪喂 蠂蟻萎渭伪, 伪位位维 渭喂伪 蔚蟺喂蟿伪魏蟿喂魏萎 伪谓维纬魏畏. 螤伪蟻慰蠀蟽喂维味蔚喂 蟿畏 味蠅纬蟻伪蠁喂魏萎 蠈蠂喂 蟽伪谓 苇谓伪 蠂蠈渭蟺蠀, 慰蠉蟿蔚 蟽伪谓 苇谓伪 蔚蟺维纬纬蔚位渭伪, 伪位位维 蟽伪谓 渭喂伪 伪蟺伪蟻伪委蟿畏蟿畏 伪蟽蠂慰位委伪, 味蠅蟿喂魏萎蟼 蟽畏渭伪蟽委伪蟼, 蠈蟺蠅蟼 蔚委谓伪喂 畏 伪谓伪蟺谓慰萎. 螤伪蟻伪魏慰位慰胃慰蠉渭蔚 蟿畏谓 蟺慰蟻蔚委伪 伪蠀蟿慰蠉 蟿慰蠀 纬谓萎蟽喂慰蠀 魏伪位位喂蟿苇蠂谓畏, 蟽蔚 伪谓蟿委胃蔚蟽畏 渭蔚 蟿喂蟼 蔚蟺伪纬纬蔚位渭伪蟿喂魏苇蟼 蟺慰蟻蔚委蔚蟼 维位位蠅谓 魏伪位位喂蟿蔚蠂谓蠋谓 蟺慰蠀 尾位苇蟺慰蠀谓 蟿畏谓 韦苇蠂谓畏 蟿慰蠀蟼 蟽伪谓 苇谓伪 渭苇蟽慰 蟺位慰蠀蟿喂蟽渭慰蠉 魏伪喂 魏慰喂谓蠅谓喂魏萎蟼 伪谓蠈未慰蠀. 螘蟺委蟽畏蟼, 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚 蟿畏谓 韦苇蠂谓畏 蠅蟼 蔚渭蟺蠈蟻蔚蠀渭伪. 螌位畏 畏 蟺慰蟻蔚委伪 伪蠀蟿萎 蟿慰蠀 萎蟻蠅伪 魏伪蟿伪纬蟻维蠁蔚蟿伪喂 蟽蠀纬魏位慰谓喂蟽蟿喂魏维 魏伪喂 渭蔚 蟿慰蠀蟼 渭蔚位蔚蟿畏蟿苇蟼 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 谓伪 尾位苇蟺慰蠀谓 蟽蔚 伪蠀蟿萎谓 慰渭慰喂蠈蟿畏蟿蔚蟼 蔚委蟿蔚 渭蔚 蟿畏谓 蟺慰蟻蔚委伪 蟿慰蠀 Paul Cezanne (慰 慰蟺慰委慰蟼 蠀蟺萎蟻尉蔚 蟺伪喂未喂魏蠈蟼 蠁委位慰蟼 蟿慰蠀 Zola), 蔚委蟿蔚 渭蔚 蟿慰蠀 Edward Manet.
螚 苇魏未慰蟽畏 蟿慰蠀 螝伪蟽蟿伪谓喂蠋蟿畏 蔚委谓伪喂 蟺慰位蠉 蟺蟻慰蟽蔚纬渭苇谓畏, 渭蔚 苇谓伪 蟺慰位蠉 蠈渭慰蟻蠁慰 蠂慰谓蟿蟻蠈 蔚尉蠋蠁蠀位位慰 魏伪喂 渭喂伪 伪尉喂蠈位慰纬畏 渭蔚蟿维蠁蟻伪蟽畏. 螆谓伪 尾委尾位喂慰-未畏渭喂慰蠉蟻纬畏渭伪-蟺蟻伪纬渭伪蟿喂魏蠈 蟽蟿慰位委未喂.
韦慰 "螖畏渭喂慰蠉蚁纬畏渭伪" 伪蟺慰蟿蠀蟺蠋谓蔚喂 蟿畏谓 蠄蠀蠂慰位慰纬委伪 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏 蟺慰蠀 伪纬蠅谓委味蔚蟿伪喂 魏伪喂 蟺伪位蔚蠉蔚喂 渭蔚 蟿慰谓 委未喂慰 蟿慰蠀 蟿慰谓 蔚伪蠀蟿蠈 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 未畏渭喂慰蠀蟻纬萎蟽蔚喂 伪蠀蟿蠈 蟿慰 蟺慰位蠀蟺蠈胃畏蟿慰 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 魏喂 伪蠀蟿蠈 未蔚谓 蔚委谓伪喂 伪蟺位维 渭喂伪 未委蠄伪 纬喂伪 未蠈尉伪 魏伪喂 蠂蟻萎渭伪, 伪位位维 渭喂伪 蔚蟺喂蟿伪魏蟿喂魏萎 伪谓维纬魏畏. 螤伪蟻慰蠀蟽喂维味蔚喂 蟿畏 味蠅纬蟻伪蠁喂魏萎 蠈蠂喂 蟽伪谓 苇谓伪 蠂蠈渭蟺蠀, 慰蠉蟿蔚 蟽伪谓 苇谓伪 蔚蟺维纬纬蔚位渭伪, 伪位位维 蟽伪谓 渭喂伪 伪蟺伪蟻伪委蟿畏蟿畏 伪蟽蠂慰位委伪, 味蠅蟿喂魏萎蟼 蟽畏渭伪蟽委伪蟼, 蠈蟺蠅蟼 蔚委谓伪喂 畏 伪谓伪蟺谓慰萎. 螤伪蟻伪魏慰位慰胃慰蠉渭蔚 蟿畏谓 蟺慰蟻蔚委伪 伪蠀蟿慰蠉 蟿慰蠀 纬谓萎蟽喂慰蠀 魏伪位位喂蟿苇蠂谓畏, 蟽蔚 伪谓蟿委胃蔚蟽畏 渭蔚 蟿喂蟼 蔚蟺伪纬纬蔚位渭伪蟿喂魏苇蟼 蟺慰蟻蔚委蔚蟼 维位位蠅谓 魏伪位位喂蟿蔚蠂谓蠋谓 蟺慰蠀 尾位苇蟺慰蠀谓 蟿畏谓 韦苇蠂谓畏 蟿慰蠀蟼 蟽伪谓 苇谓伪 渭苇蟽慰 蟺位慰蠀蟿喂蟽渭慰蠉 魏伪喂 魏慰喂谓蠅谓喂魏萎蟼 伪谓蠈未慰蠀. 螘蟺委蟽畏蟼, 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚 蟿畏谓 韦苇蠂谓畏 蠅蟼 蔚渭蟺蠈蟻蔚蠀渭伪. 螌位畏 畏 蟺慰蟻蔚委伪 伪蠀蟿萎 蟿慰蠀 萎蟻蠅伪 魏伪蟿伪纬蟻维蠁蔚蟿伪喂 蟽蠀纬魏位慰谓喂蟽蟿喂魏维 魏伪喂 渭蔚 蟿慰蠀蟼 渭蔚位蔚蟿畏蟿苇蟼 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 谓伪 尾位苇蟺慰蠀谓 蟽蔚 伪蠀蟿萎谓 慰渭慰喂蠈蟿畏蟿蔚蟼 蔚委蟿蔚 渭蔚 蟿畏谓 蟺慰蟻蔚委伪 蟿慰蠀 Paul Cezanne (慰 慰蟺慰委慰蟼 蠀蟺萎蟻尉蔚 蟺伪喂未喂魏蠈蟼 蠁委位慰蟼 蟿慰蠀 Zola), 蔚委蟿蔚 渭蔚 蟿慰蠀 Edward Manet.
螚 苇魏未慰蟽畏 蟿慰蠀 螝伪蟽蟿伪谓喂蠋蟿畏 蔚委谓伪喂 蟺慰位蠉 蟺蟻慰蟽蔚纬渭苇谓畏, 渭蔚 苇谓伪 蟺慰位蠉 蠈渭慰蟻蠁慰 蠂慰谓蟿蟻蠈 蔚尉蠋蠁蠀位位慰 魏伪喂 渭喂伪 伪尉喂蠈位慰纬畏 渭蔚蟿维蠁蟻伪蟽畏. 螆谓伪 尾委尾位喂慰-未畏渭喂慰蠉蟻纬畏渭伪-蟺蟻伪纬渭伪蟿喂魏蠈 蟽蟿慰位委未喂.
April 26, 2017
Introduction
Note on the Translation
Select Bibliography
Chronology
--The Masterpiece
Explanatory Notes
Note on the Translation
Select Bibliography
Chronology
--The Masterpiece
Explanatory Notes
November 14, 2020
丕夭 賳馗乇 賲賳 夭賵賱丕 丿乇 丕賲乇 賮囟丕 爻丕夭蹖 賵 鬲賵氐蹖賮丕鬲 亘賴鬲乇蹖賳 賳賵蹖爻賳丿賴 噩賴丕賳 丕爻鬲 丨鬲蹖 丕夭 鬲賵賱爻鬲賵蹖 賴賲 亘賴鬲乇賴.
亘賴 丿賱蹖賱 讴爻丕賱鬲 倬蹖卮 丌賲丿賴( 丕丨鬲賲丕賱丕 讴乇賵賳丕 !) 丨爻 賵 丨丕賱蹖 亘乇丕蹖 胤賵蹖賱 賳賵卮鬲賳 賳蹖爻鬲 !
亘賴 丿賱蹖賱 讴爻丕賱鬲 倬蹖卮 丌賲丿賴( 丕丨鬲賲丕賱丕 讴乇賵賳丕 !) 丨爻 賵 丨丕賱蹖 亘乇丕蹖 胤賵蹖賱 賳賵卮鬲賳 賳蹖爻鬲 !
January 3, 2024
Art imitates life; life imitates art.
脡mile Zola was friends with Paul C茅zanne. Small world. One of the greatest writers was friends with one of the greatest artists. After Zola published this book in 1886, he sent a copy to his friend. C茅zanne replied, thanks for the book, and never spoke to his friend ever again.
What was in this book that would sever such a friendship? After reading this book, I am not sure why Zola sent this kind of book to Cezanne. Why? The book is about a 鈥渇ailed鈥� artist Claude Lantier. Claude grew up in the fictional town of Plassans in the Air-en-Provence region of France. Claude befriends Pierre Sandoz and both would end end up Paris. Claude (C茅zanne) the painter and Sandoz a writer (Zola), hence art imitating real life.
Claude wants to make a big splash at le Salon de Refus茅s, the now legendary annual art show of artists that were rejected by the Acad茅mie de Beaux-Arts. This is the place where the Impressionist gained their fame. Claude is a landscape painter but decides he wants to create a big splash.
Claude鈥檚 painting, Plein Aire (Open Air) depicts a nude female surrounded by two other nude women and one fully clothed man in an outdoor setting. Based on Manet鈥檚 1863 painting Le d茅jeuner sur l鈥檋erbe, Claude鈥檚 painting created shock but more so, a lot of criticism.
His model for the nude woman is Christine Hallegrain. After both of her parents had died, she is rescued from a life in a convent by a rich old and almost blind woman, Mme Vanzade. Claude met her and 鈥渞escued鈥� her from this boring life and so Christine 鈥渙wes鈥� him something so she offers to model for him. She falls for Claude and likes his Bohemian lifestyle
After the debacle of the Salon, they move to the country. Life is much more simple. They have a child Jacques. Claude attempts to get back to landscape painting but because of the criticism, he can鈥檛 finish a painting. Life becomes even more isolated for Christine and they move back to Paris after three years.
Claude falls in with his artist friends and reunites with Sandoz. They live the bohemian lifestyle. Christine and Claude are not married either, so chic. They attend parties, so chic. The men talk about art, the women are so sexy. He is back painting which is good but you know that being an artist costs money in canvases and paints, not to mention a studio and living with a woman with a child costs even more. Not so chic. And that child? Sickly and that costs even more money.
The bohemian lifestyle starts to really take a toll. After three 鈥渇ailures鈥� at the Salon, his child takes a turn for the worse. His marriage (they finally decide to marry) hits a brick wall. He can鈥檛 seem to accomplish the notoriety that his first painting, his oeuvre called 鈥淧lein Aire鈥� first accomplished. He becomes so obsessed with that painting that he loses all sense of reality. He fills his studio with nudes. His final painting presented at the Salon is an all out shock value (no spoiler here) but it sends Claude into the realm of madness.
That leaves us back to 脡mile Zola and Paul C茅zanne. What did Paul think when he read this book but a bigger question is what was 脡mile thinking when he passed this book on? It makes for a great tragic story. The artist, with his drive for fame but never reaches it, fights with his internal demons. The art friends that love to argue art, their petty jealousies, and endless gossip. Friends or foes? How did Christine manage all the emotional issues living for Claude, when a clearly mentally challenged Claude became so obsessed? It is interesting that just a few years later (1890) another tragic artist life would unfold, Vincent Van Gogh.
Dark, gritty real stuff of life. How could he give this book to C茅zanne? How well did Zola know C茅zanne? Did the book hit a nerve? Or was it just too dark for C茅zanne, now living in the south of France, his paintings full of light? Oh, I could speculate for hours but the fact is that is ended their friendship. How is that to haunt you for the rest of your days?
脡mile Zola was friends with Paul C茅zanne. Small world. One of the greatest writers was friends with one of the greatest artists. After Zola published this book in 1886, he sent a copy to his friend. C茅zanne replied, thanks for the book, and never spoke to his friend ever again.
What was in this book that would sever such a friendship? After reading this book, I am not sure why Zola sent this kind of book to Cezanne. Why? The book is about a 鈥渇ailed鈥� artist Claude Lantier. Claude grew up in the fictional town of Plassans in the Air-en-Provence region of France. Claude befriends Pierre Sandoz and both would end end up Paris. Claude (C茅zanne) the painter and Sandoz a writer (Zola), hence art imitating real life.
Claude wants to make a big splash at le Salon de Refus茅s, the now legendary annual art show of artists that were rejected by the Acad茅mie de Beaux-Arts. This is the place where the Impressionist gained their fame. Claude is a landscape painter but decides he wants to create a big splash.
Claude鈥檚 painting, Plein Aire (Open Air) depicts a nude female surrounded by two other nude women and one fully clothed man in an outdoor setting. Based on Manet鈥檚 1863 painting Le d茅jeuner sur l鈥檋erbe, Claude鈥檚 painting created shock but more so, a lot of criticism.
His model for the nude woman is Christine Hallegrain. After both of her parents had died, she is rescued from a life in a convent by a rich old and almost blind woman, Mme Vanzade. Claude met her and 鈥渞escued鈥� her from this boring life and so Christine 鈥渙wes鈥� him something so she offers to model for him. She falls for Claude and likes his Bohemian lifestyle
After the debacle of the Salon, they move to the country. Life is much more simple. They have a child Jacques. Claude attempts to get back to landscape painting but because of the criticism, he can鈥檛 finish a painting. Life becomes even more isolated for Christine and they move back to Paris after three years.
Claude falls in with his artist friends and reunites with Sandoz. They live the bohemian lifestyle. Christine and Claude are not married either, so chic. They attend parties, so chic. The men talk about art, the women are so sexy. He is back painting which is good but you know that being an artist costs money in canvases and paints, not to mention a studio and living with a woman with a child costs even more. Not so chic. And that child? Sickly and that costs even more money.
The bohemian lifestyle starts to really take a toll. After three 鈥渇ailures鈥� at the Salon, his child takes a turn for the worse. His marriage (they finally decide to marry) hits a brick wall. He can鈥檛 seem to accomplish the notoriety that his first painting, his oeuvre called 鈥淧lein Aire鈥� first accomplished. He becomes so obsessed with that painting that he loses all sense of reality. He fills his studio with nudes. His final painting presented at the Salon is an all out shock value (no spoiler here) but it sends Claude into the realm of madness.
That leaves us back to 脡mile Zola and Paul C茅zanne. What did Paul think when he read this book but a bigger question is what was 脡mile thinking when he passed this book on? It makes for a great tragic story. The artist, with his drive for fame but never reaches it, fights with his internal demons. The art friends that love to argue art, their petty jealousies, and endless gossip. Friends or foes? How did Christine manage all the emotional issues living for Claude, when a clearly mentally challenged Claude became so obsessed? It is interesting that just a few years later (1890) another tragic artist life would unfold, Vincent Van Gogh.
Dark, gritty real stuff of life. How could he give this book to C茅zanne? How well did Zola know C茅zanne? Did the book hit a nerve? Or was it just too dark for C茅zanne, now living in the south of France, his paintings full of light? Oh, I could speculate for hours but the fact is that is ended their friendship. How is that to haunt you for the rest of your days?
July 22, 2024
卮丕賴讴丕乇貙 趩賴丕乇丿賴賲蹖賳 讴鬲丕亘 丕夭 賲噩賲賵毓賴 亘蹖爻鬲 噩賱丿蹖 乇賵诏賳 賵 賲丕讴丕乇賴 賵 丿乇 丿賵乇丕賳 丕賲倬乇丕鬲賵乇蹖 丿賵賲 賮乇丕賳爻賴 丕鬲賮丕賯 賲蹖賵賮鬲賴. 夭賵賱丕 亘乇丕蹖 賳賵卮鬲賳 丕蹖賳 讴鬲丕亘 丕夭 丿丕爻鬲丕賳 丿賵爻鬲蹖 禺賵丿卮 亘丕 倬丕賵賱 爻夭丕賳 丕賱賴丕賲 诏乇賮鬲賴 賵 丿賳蹖丕蹖 賴賳乇 丿乇 賳蹖賲賴 賯乇賳 賳賵夭丿賴賲 乇賵 亘賴 卮讴賱 丿賯蹖賯蹖 亘賴 鬲氐賵蹖乇 讴卮蹖丿賴. 禺蹖賱蹖 丕夭 丕賮乇丕丿 丕蹖賳 讴鬲丕亘 乇賵 丿賱蹖賱 亘賴賲 禺賵乇丿賳 丿賵爻鬲蹖 賵 賯胤毓 丕乇鬲亘丕胤 爻夭丕賳 賵 夭賵賱丕 賲蹖丿賵賳賳. 丿丕爻鬲丕賳 讴鬲丕亘 丿乇亘丕乇賴 讴賱賵丿 賱丕賳鬲蹖乇賴 讴賴 丿乇 讴鬲丕亘 賴丕蹖 丌爻賵賲賵丕乇 賵 卮讴賲 倬丕乇蹖爻 賴賲 禺賵丕賳賳丿賴 噩爻鬲賴 賵 诏乇蹖禺鬲賴 亘丕 讴賱賵丿 賵 丿丕爻鬲丕賳卮 丌卮賳丕 卮丿賴. 讴賱賵丿 賴賲 賲孬賱 禺蹖賱蹖 丕夭 丕毓囟丕蹖 禺丕賳丿丕賳 乇賵诏賳 賲丕讴丕乇貙 賲亘鬲賱丕 亘賴 丕禺鬲賱丕賱 賵爻賵丕爻 噩亘乇蹖賴 賵 丕蹖賳 丕禺鬲賱丕賱 丿乇 讴賱賵丿 亘賴 卮讴賱 蹖讴 賵爻賵丕爻 亘乇丕蹖 禺賱賯 蹖讴 賳賯丕卮蹖 卮丕賴讴丕乇 亘賵噩賵丿 丕賵賲丿賴.
卮丕賴讴丕乇 蹖讴蹖 丕夭 賲毓乇賵賮鬲乇蹖賳 讴鬲丕亘 賴丕蹖 夭賵賱丕卅賴 賵 卮丕蹖丿 亘賴 禺賵亘蹖 亘賴鬲乇蹖賳 賴丕蹖 賲噩賲賵毓賴 賳亘丕卮賴 丕賲丕 丿乇 亘丕夭賴 倬丕賳夭丿賴 爻丕賱賴鈥屫й� 讴賴 乇賲丕賳 丿乇 丕賵賳 賲蹖诏匕乇賴 夭賵賱丕 毓賱丕賵賴 亘乇 鬲賵氐蹖賮 噩賴丕賳 賴賳乇蹖 賵 爻亘讴 夭賳丿诏蹖 亘賵賴賲蹖賳 賴賳乇賲賳丿丕賳 賳蹖賲賴 賯乇賳 賳賵夭丿賴賲 丿乇 倬丕乇蹖爻貙 鬲氐賵蹖乇 丿賯蹖賯蹖 丕夭 馗賴賵乇 賲讴鬲亘 賴丕蹖 賴賳乇蹖 乇卅丕賱蹖爻賲 賵 賳丕鬲賵乇丕賱蹖爻賲 賵 丕賲倬乇爻蹖賵賳蹖爻賲 賴賲 亘賴 禺賵丕賳賳丿賴 丕乇丕卅賴 賲蹖丿賴.
卮丕賴讴丕乇 蹖讴蹖 丕夭 賲毓乇賵賮鬲乇蹖賳 讴鬲丕亘 賴丕蹖 夭賵賱丕卅賴 賵 卮丕蹖丿 亘賴 禺賵亘蹖 亘賴鬲乇蹖賳 賴丕蹖 賲噩賲賵毓賴 賳亘丕卮賴 丕賲丕 丿乇 亘丕夭賴 倬丕賳夭丿賴 爻丕賱賴鈥屫й� 讴賴 乇賲丕賳 丿乇 丕賵賳 賲蹖诏匕乇賴 夭賵賱丕 毓賱丕賵賴 亘乇 鬲賵氐蹖賮 噩賴丕賳 賴賳乇蹖 賵 爻亘讴 夭賳丿诏蹖 亘賵賴賲蹖賳 賴賳乇賲賳丿丕賳 賳蹖賲賴 賯乇賳 賳賵夭丿賴賲 丿乇 倬丕乇蹖爻貙 鬲氐賵蹖乇 丿賯蹖賯蹖 丕夭 馗賴賵乇 賲讴鬲亘 賴丕蹖 賴賳乇蹖 乇卅丕賱蹖爻賲 賵 賳丕鬲賵乇丕賱蹖爻賲 賵 丕賲倬乇爻蹖賵賳蹖爻賲 賴賲 亘賴 禺賵丕賳賳丿賴 丕乇丕卅賴 賲蹖丿賴.
March 30, 2022
鈥�... lui che dipingeva a denti stretti,
con una fredda rabbia, non appena sentiva che la natura gli sfuggiva.鈥�
Un temporale tanto improvviso quanto violento.
Claude Lantier, giovane pittore, dopo aver girovagato per le strade di Parigi, sta rientrando nella sua mansarda, quando davanti al portone di casa appare una misteriosa ragazza.
La pioggia inizia a battere sempre pi霉 forte i lampi illuminano il suo viso disperato:
猫 cos矛 che Claude e Christine si vedono per la prima volta.
Lei, orfana cresciuta in un convento.
Lui (gi脿 presente ne ) che dall鈥檈t脿 di sette anni 猫 stato separato dalla madre (la Gervaise Maquart protagonista de ) e messo sotto l鈥檃la protettrice di un mecenate che finanzia i suoi studi artistici.
Christine sale da Claude.
La descrizione del percorso per salire nella sua stanza che apre questo romanzo, mi 猫 sembrata una metafora di tutta questa storia:
gli alti e scricchiolanti gradini, il buio, la mancanza di una ringhiera.
Tutto cos矛 precario, tutto cos矛 difficile.
Un romanzo che si muove sui binari della passione:
da un lato il viaggio dell'Amore carnale tra i due protagonisti,
dall鈥檃ltro un rapporto tormentato con l鈥橝rte.
Una scrittura emozionata dai ricordi di cui 猫 impregnata a partire dalla cerchia di giovani artisti cos矛 ammirati e temuti, allo stesso tempo, con quel loro bisogno di incrinare le regole e di dettare le nuove forme dell鈥橝rte.
Questo movimento rivoltoso ha come bersaglio principale L'Acad茅mie e il Salon, insomma i luoghi che sono l鈥檌stituzionalizzazione di un arte romantica che vogliono abbattere.
Il movimento che propone l鈥�en plain air vuole liberare ogni forma artistica. Il naturalismo che rivendica il ruolo della Verit脿.
Zola 猫 riconoscibile nell鈥檃mico pi霉 caro di Claude:
Pierre Sandoz, scrittore che conoscer脿 il successo grazie ad un suo progetto:
"Prender貌 una famiglia e ne studier貌 i membri, uno per uno da dove vengono, dove vanno, come reagiscono, gli uni rispetto agli altri; infine, una umanit脿 in piccolo, la maniera in cui l鈥檜manit脿 preme e si comporta.
D鈥檃ltra parte, metter貌 i miei pupazzi in un periodo storico determinato, per disporre dell鈥檃mbiente e delle circostanze, un brano di storia... Eh? Capisci, una serie di libretti, quindici, venti, episodi che saranno connessi pur avendo ciascuno una propria autonomia, una serie di romanzi che mi procureranno una casa per la vecchiaia, sempre che non mi distruggano"
Il progetto zoliano e il naturalismo stesso possono essere non condivisibili (鈥� Car la v茅rit茅 absolue, la v茅rit茅 s猫che, n鈥檈xiste pas, personne ne pouvant avoir la pr茅tention d鈥櫭猼re un miroir parfait. 鈥� scriveva Maupassant) ma 猫 proprio qui tra queste pagine che l鈥檃utore ci rende partecipi della passione e della fede nella sua idea letteraria.
Grande amore per la Letteratura.
Grande Romanzo.
con una fredda rabbia, non appena sentiva che la natura gli sfuggiva.鈥�
Un temporale tanto improvviso quanto violento.
Claude Lantier, giovane pittore, dopo aver girovagato per le strade di Parigi, sta rientrando nella sua mansarda, quando davanti al portone di casa appare una misteriosa ragazza.
La pioggia inizia a battere sempre pi霉 forte i lampi illuminano il suo viso disperato:
猫 cos矛 che Claude e Christine si vedono per la prima volta.
Lei, orfana cresciuta in un convento.
Lui (gi脿 presente ne ) che dall鈥檈t脿 di sette anni 猫 stato separato dalla madre (la Gervaise Maquart protagonista de ) e messo sotto l鈥檃la protettrice di un mecenate che finanzia i suoi studi artistici.
Christine sale da Claude.
La descrizione del percorso per salire nella sua stanza che apre questo romanzo, mi 猫 sembrata una metafora di tutta questa storia:
gli alti e scricchiolanti gradini, il buio, la mancanza di una ringhiera.
Tutto cos矛 precario, tutto cos矛 difficile.
Un romanzo che si muove sui binari della passione:
da un lato il viaggio dell'Amore carnale tra i due protagonisti,
dall鈥檃ltro un rapporto tormentato con l鈥橝rte.
Una scrittura emozionata dai ricordi di cui 猫 impregnata a partire dalla cerchia di giovani artisti cos矛 ammirati e temuti, allo stesso tempo, con quel loro bisogno di incrinare le regole e di dettare le nuove forme dell鈥橝rte.
Questo movimento rivoltoso ha come bersaglio principale L'Acad茅mie e il Salon, insomma i luoghi che sono l鈥檌stituzionalizzazione di un arte romantica che vogliono abbattere.
Il movimento che propone l鈥�en plain air vuole liberare ogni forma artistica. Il naturalismo che rivendica il ruolo della Verit脿.
Zola 猫 riconoscibile nell鈥檃mico pi霉 caro di Claude:
Pierre Sandoz, scrittore che conoscer脿 il successo grazie ad un suo progetto:
"Prender貌 una famiglia e ne studier貌 i membri, uno per uno da dove vengono, dove vanno, come reagiscono, gli uni rispetto agli altri; infine, una umanit脿 in piccolo, la maniera in cui l鈥檜manit脿 preme e si comporta.
D鈥檃ltra parte, metter貌 i miei pupazzi in un periodo storico determinato, per disporre dell鈥檃mbiente e delle circostanze, un brano di storia... Eh? Capisci, una serie di libretti, quindici, venti, episodi che saranno connessi pur avendo ciascuno una propria autonomia, una serie di romanzi che mi procureranno una casa per la vecchiaia, sempre che non mi distruggano"
Il progetto zoliano e il naturalismo stesso possono essere non condivisibili (鈥� Car la v茅rit茅 absolue, la v茅rit茅 s猫che, n鈥檈xiste pas, personne ne pouvant avoir la pr茅tention d鈥櫭猼re un miroir parfait. 鈥� scriveva Maupassant) ma 猫 proprio qui tra queste pagine che l鈥檃utore ci rende partecipi della passione e della fede nella sua idea letteraria.
Grande amore per la Letteratura.
Grande Romanzo.
March 24, 2022
袪芯屑邪薪 芦孝胁芯褉褔械褋褌胁芯禄 胁械谢懈泻 锌褉械卸写械 胁褋械谐芯 锌褉邪胁写芯泄 屑懈褉芯芯褖褍褖械薪懈褟 懈屑锌褉械褋褋懈芯薪懈褋褌芯胁, 泻芯褌芯褉褘褏 薪械 锌芯薪懈屑邪谢 薪懈泻褌芯 胁 谐芯写褘 懈褏 褌胁芯褉褔械褋褌胁邪. 袠屑 斜褘谢邪 褍谐芯褌芯胁邪薪邪 薪懈褖械褌邪, 薪械锌褉懈褟褌懈械 小邪谢芯薪邪 锌褉懈 卸懈蟹薪懈, 懈 胁芯褋褌芯褉谐 懈 锌芯泻谢芯薪械薪懈械 屑懈谢谢懈芯薪芯胁 锌芯褋谢械 懈褏 褋屑械褉褌懈. 袥褞写懈 懈薪械褉褌薪褘, 褋褌邪写薪褘, 卸械褋褌芯泻懈 懈 胁 褝褌芯屑 懈褏 泻邪褉邪褞褖邪褟 褋懈谢邪, 泻芯褌芯褉褍褞 芯薪懈 写邪卸械 薪械 芯褋芯蟹薪邪褞褌.
March 10, 2022
- "Sutra拧nja umjetnost bit 膰e tvoja , ti si sve njih izgradio. Claude onda otvori usta i posve tiho, s mra膷nom neumoljivo拧膰u re膷e: - 艩to mi vrijedi, 拧to sam ih izgradio, ako nisam izgradio samoga sebe?... Znaj, to je bilo preveliko za mene, i to me ubija." -" 膶emu to uzaludno uzbu膽ivanje, ako vjetar iza 膷ovjeka, koji hoda, mete i odnosi trag njegovih koraka?" -" Istinski je osjetio da se nije trebalo vra膰ati, jer je pro拧lost samo groblje na拧ih ispraznih nada, te u njoj 膷ovjek samo udara nogama o grobove." Ovo je vjerovatno jedan od Zolinih najboljih romana. 膶etvorka jer je sa "沤erminalom" i "Trova膷nicom" te拧ko pore膽enje svih ostalih.
January 28, 2013
There's a character in this novel who decides to embark on an ambitious project to write a series of novels that "scientifically" demonstrate the effects of heredity and environment on a large family living during the regime of Napoleon III. (Whatever happened to Napoleon II?) The idea is that each book will examine some specific aspect of society and feature one member of the extended family as main protagonist. Which is odd, because Zola wrote a series of 20 books that examine the effects of environment and heredity on the fictional Rougon-Macquart family who live during Napoleon III's time in power...Yes, having abandoned (in practice if not by admission) his "scientific" plan fairly early in the 20 volume project, by the time Zola gets round to examining the world of artistic endeavor in Paris, he is entirely willing to model aspects of his characters on himself - and on his friends amongst the Impressionists, who, upon reading the book, variously, never spoke to him again, got really angry or found it flattering or funny.
Zola in this series is talking about a world only slightly in his past, that he lived through, and all of its members that I've read feel very believable in terms of the society and atmosphere portrayed, if possibly somewhat exaggerated, but in this one he is talking directly about his own experiences which differentiates this from the others in the series in a way beyond just that of being a separate plot about a seperate character in a different stratum of French society from the others - which is, of course, what they have in common. If you are interested in that kind of game you could spend hours pondering exactly which aspects of which characters are taken from which real-life world-famous Impressionist painters.
Strangely, the world of art portrayed seems entirely familiar; paintings used as investments, people trying to manipulate the market for profit, resultant hyper-inflation of prices. The public ridiculing works that later generations see as genius. Young artists spouting revolutionary theories about art and society, an old-guard establishment who try to keep the new-comers and their radical ideas down.
The main protagonist, Claude (yes, after that Claude) is the leader of just such a group of young, ambitious, would-be (art) world-changers. His battles with the establishment and his own flaws and genius are affectingly set out over the course of the book and leads to an end that many readers of other Rougon-Macquart novels can probably guess early. Other recognisable Zola themes are to be found; for instance promiscuity amongst the poor and attempts to describe the passionate aspects of romance explicitly that outraged many contemporary readers. A challenge as to what was permisable still being fought by D.H. Lawrence many decades later.
The style is also instantly recognisable, even across at least three different translators of his novels in the 6-10 Zola books I've read. The narrative voice, dramatic mood-swings and slow build-up (that can leave one bogged-down in the middle third) to a moving climax are all typically Zola. Despite the description of a man tortured by his obsessions and self-doubt, this member of the series was not for me as powerful as some of its more famous brethren, such as , or . Worth reading, then, but not the one to pick as one's first or even perhaps fifth work by Zola.
Zola in this series is talking about a world only slightly in his past, that he lived through, and all of its members that I've read feel very believable in terms of the society and atmosphere portrayed, if possibly somewhat exaggerated, but in this one he is talking directly about his own experiences which differentiates this from the others in the series in a way beyond just that of being a separate plot about a seperate character in a different stratum of French society from the others - which is, of course, what they have in common. If you are interested in that kind of game you could spend hours pondering exactly which aspects of which characters are taken from which real-life world-famous Impressionist painters.
Strangely, the world of art portrayed seems entirely familiar; paintings used as investments, people trying to manipulate the market for profit, resultant hyper-inflation of prices. The public ridiculing works that later generations see as genius. Young artists spouting revolutionary theories about art and society, an old-guard establishment who try to keep the new-comers and their radical ideas down.
The main protagonist, Claude (yes, after that Claude) is the leader of just such a group of young, ambitious, would-be (art) world-changers. His battles with the establishment and his own flaws and genius are affectingly set out over the course of the book and leads to an end that many readers of other Rougon-Macquart novels can probably guess early. Other recognisable Zola themes are to be found; for instance promiscuity amongst the poor and attempts to describe the passionate aspects of romance explicitly that outraged many contemporary readers. A challenge as to what was permisable still being fought by D.H. Lawrence many decades later.
The style is also instantly recognisable, even across at least three different translators of his novels in the 6-10 Zola books I've read. The narrative voice, dramatic mood-swings and slow build-up (that can leave one bogged-down in the middle third) to a moving climax are all typically Zola. Despite the description of a man tortured by his obsessions and self-doubt, this member of the series was not for me as powerful as some of its more famous brethren, such as , or . Worth reading, then, but not the one to pick as one's first or even perhaps fifth work by Zola.
December 30, 2019
卮丕賴賰丕乇賷 乇賲丕賳賷 亘乇 丕爻丕爻 夭賳丿诏賷 賷賰 賴賳乇賲賳丿 亘丕 丕爻鬲毓丿丕丿 丕爻鬲 賰賴 丿睾丿睾賴 爻乇丕爻乇 夭賳丿诏賷 丕卮 禺賱賯 丕孬乇賷 亘賷 賴賲鬲丕 丕爻鬲.
丕賵 亘丕 賲毓賷丕乇 賴丕賷 毓丕賲賴 倬爻賳丿 噩丕賲毓賴 爻丕夭诏丕乇賷 賳丿丕乇丿 賵 丿乇 鬲賰丕倬賵 亘乇丕賷 禺賱賯 卮丕賴賰丕乇賷 丕爻鬲 賰賴 丿賷诏乇丕賳 丕夭 丿乇賰 丌賳 毓丕噩夭賳丿.
丕賷賳 乇賲丕賳 鬲丕 丨丿賷 乇賳诏 賵 亘賵賷 爻乇诏匕卮鬲 賳丕賲賴 賷 卮禺氐賷 丿丕乇丿 賵 禺賵丿 丕賵 賵 亘爻賷丕乇賷 丕夭 丿賵爻鬲丕賳卮 乇丕 丿乇 賯丕賱亘 卮禺氐賷鬲 賴丕 賲賷鬲賵丕賳 亘丕夭 卮賳丕禺鬲.
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賯爻賲鬲賷 丕夭 賰鬲丕亘:
"倬爻 賮賯胤 趩賳丿 爻丕賱賷 亘爻 亘賵丿 鬲丕 賳賯胤賴 丕賷 賰賴 丌丿賲 丿乇 丌賳 賰丕乇 賰乇丿賴貙 毓卮賯 賵乇夭賷丿賴 賵 乇賳噩 賰卮賷丿賴 丕爻鬲 賷賰爻乇賴 丕夭 倬賴賳賴 賷 夭賲賷賳 倬丕賰 卮賵丿.
倬爻 趩賴 爻賵丿 丕夭 噩賵卮 賵 禺乇賵卮 亘賷賴賵丿賴 賷 丌丿賲賷 賴賳诏丕賲賷 賰賴 亘丕丿 倬卮鬲 爻乇 賴賲賴 賷 丌孬丕乇 賵 乇丿 倬丕賴丕賷 丕賳爻丕賳 乇丕 賲賷 乇賵賮鬲 賵 亘丕 禺賵丿 賲賷 亘乇丿."
June 20, 2024
蹖讴 丕孬乇 賴賳乇蹖賽 乇卅丕賱貨 噩丕丿賵蹖蹖貙 賲賵乇賲賵乇讴賳賳丿賴 賵 賳丕亘賵丿诏乇. 亘丕夭鬲丕亘 鬲讴賴鈥屬囏й� 卮讴爻鬲賴鈥屰� 賴賳乇 丿乇 丌蹖賳賴鈥屰� 賯乇賳.
November 28, 2017
Zola za mene postaje kralj tragedije. Ovo mi je njegov 10. roman koji 膷itam, svaki mi je dra啪i od prethodnog, ali ovaj me je duboko potresao.
Junak romana je Klod Lantije, slikar koji je toliko posve膰en umetnosti da sve aspekte 啪ivota podre膽uje toj nekoj budu膰oj, savr拧enoj slici, remek-delu koje nikako da stvori. On radi bez sna, 膷esto ne jede, zaljubi se i o啪eni, ali ta prava 啪ena je samo zamena za 沤enu koju slika i koja je savr锟斤拷enija od njegove 啪ive supruge, dobije dete koje vidi samo kao prepreku. Njegovo stremljenje ka savr拧enoj tehnici slikanja, pravoj liniji 啪enskog tela, novoj plein-air tehnici ja膷e je od svih spoljnih uticaja. Polako ostaje bez prijatelja, gubi perspektivu i slike postaju sve nekvalitetnije, a on tone u ludilo.
Kristina od po膷etka njihovog poznanstva sluti da nikad ne膰e biti na prvom mestu, ali je uz njega do kraja. Njen monolog na kraju romana je jedan od najboljih koje sam ikada pro膷itala, bukvalno sam bila na ivici stolice i podr啪avala je do poslednjeg uzvi膷nika. Tu ga kona膷no suo膷ava sa svim onim 拧to je do tada pre膰utala, sa posledicama slikarstva na njihov brak, poku拧ava da mu skrene pa啪nju na sebe i na 啪ivot van ateljea jer sluti da je on ve膰 duboko zaglibio i 啪ivi samo za fiks ideju. Kona膷no gubi borbu protiv 沤ene na slici, za koju je, ironi膷no, ona pozirala.
Njihov sin je mo啪da i najtragi膷nija epizoda u knjizi, majci uvek simbol da je nakon njegovog ro膽enja po膷ela da gubi Kloda, a ocu samo smetnja i pokazatelj da mora da zara膽uje za njega dok bi sam radije gladovao i slikao ogromna, neprofitabilna platna. Mali 沤ak umire, zapostavljen, a otac ga par trenutaka kasnije koristi kao model za sliku Mrtvo dete, delo koje 膰e mu kona膷no doneti neko priznanje, ali osrednje. Klod kasnije posmatra svog sina na slici u galeriji, sme拧tenu u mra膷nom 膰o拧ku i slu拧a zgro啪ene komentare posetilaca, opet samo razmi拧ljaju膰i o tehnici koju je pogre拧no koristio.
Prelepa pri膷a koja izaziva svako saose膰anje sa umetnicima.
Junak romana je Klod Lantije, slikar koji je toliko posve膰en umetnosti da sve aspekte 啪ivota podre膽uje toj nekoj budu膰oj, savr拧enoj slici, remek-delu koje nikako da stvori. On radi bez sna, 膷esto ne jede, zaljubi se i o啪eni, ali ta prava 啪ena je samo zamena za 沤enu koju slika i koja je savr锟斤拷enija od njegove 啪ive supruge, dobije dete koje vidi samo kao prepreku. Njegovo stremljenje ka savr拧enoj tehnici slikanja, pravoj liniji 啪enskog tela, novoj plein-air tehnici ja膷e je od svih spoljnih uticaja. Polako ostaje bez prijatelja, gubi perspektivu i slike postaju sve nekvalitetnije, a on tone u ludilo.
Kristina od po膷etka njihovog poznanstva sluti da nikad ne膰e biti na prvom mestu, ali je uz njega do kraja. Njen monolog na kraju romana je jedan od najboljih koje sam ikada pro膷itala, bukvalno sam bila na ivici stolice i podr啪avala je do poslednjeg uzvi膷nika. Tu ga kona膷no suo膷ava sa svim onim 拧to je do tada pre膰utala, sa posledicama slikarstva na njihov brak, poku拧ava da mu skrene pa啪nju na sebe i na 啪ivot van ateljea jer sluti da je on ve膰 duboko zaglibio i 啪ivi samo za fiks ideju. Kona膷no gubi borbu protiv 沤ene na slici, za koju je, ironi膷no, ona pozirala.
Njihov sin je mo啪da i najtragi膷nija epizoda u knjizi, majci uvek simbol da je nakon njegovog ro膽enja po膷ela da gubi Kloda, a ocu samo smetnja i pokazatelj da mora da zara膽uje za njega dok bi sam radije gladovao i slikao ogromna, neprofitabilna platna. Mali 沤ak umire, zapostavljen, a otac ga par trenutaka kasnije koristi kao model za sliku Mrtvo dete, delo koje 膰e mu kona膷no doneti neko priznanje, ali osrednje. Klod kasnije posmatra svog sina na slici u galeriji, sme拧tenu u mra膷nom 膰o拧ku i slu拧a zgro啪ene komentare posetilaca, opet samo razmi拧ljaju膰i o tehnici koju je pogre拧no koristio.
Prelepa pri膷a koja izaziva svako saose膰anje sa umetnicima.
July 4, 2014
This is a story about how a creation destroys its creator, and the fine line between genius and madness. In that regard, it reminded me of Mary Shelley's "Frankenstein."
Zola's descriptions of late 19th century Paris are astounding; you see, breathe, taste, and feel it. His characters are flesh and blood men and women. They leap off the page and bore into your consciousness. His observations of the human condition are compelling, his philosophical musings on the creative life profound. But it's all hard, bleak, and raw, a portrait of misery and depression with only the tiniest glimmer of hope in its final line, spoken in a cemetery: "Let's go to work."
Zola's descriptions of late 19th century Paris are astounding; you see, breathe, taste, and feel it. His characters are flesh and blood men and women. They leap off the page and bore into your consciousness. His observations of the human condition are compelling, his philosophical musings on the creative life profound. But it's all hard, bleak, and raw, a portrait of misery and depression with only the tiniest glimmer of hope in its final line, spoken in a cemetery: "Let's go to work."
October 26, 2022
The story of the troubled artist, Claude and his downward spiral after struggling to cope with the lack of success for his new style of painting. He鈥檚 uncompromising and hard on himself but it was hard to read how he and his wife, Christine, neglect their poor son. And then the ending is quite devastating although signposted, I was still shocked.
It鈥檚 a fascinating insight into the art world of Paris when Impressionism was new and the establishment ridiculed it.
It鈥檚 a fascinating insight into the art world of Paris when Impressionism was new and the establishment ridiculed it.
March 16, 2024
The story of an artist trying to fulfil his talent. It began brilliantly. The opening was fabulous. A girl arrives in Paris from the provinces, but her train is delayed so there is no one at the station to meet her. She gets caught in a thunderstorm and shelters in a doorway. Here she meets Claude, the artist who offers to put her up for the night in his garret. Thus begins their great love which is poignantly evoked as is Claude's relationship with his art. Half way through as Claude struggles more and more to realize his potential the novel begins to get a bit repetitive. Zola's friends Cezanne and Monet both refused to have anything more to do with him after reading the novel.
July 30, 2024
Emile Zola is recognized as a great realist writer. But why is this?
Is it because of his wonderfully detailed and evocative descriptions of natural landscapes or of urban life? In my opinion, no.
Is it because of his nuanced understanding of human thought and his skill at accessing and writing about the deepest, most personal psychological motivations of his carefully drawn characters? Again, I would say no.
Is it his careful observation of political and social events and his ability to describe the whole of an age, the Second Empire of Napoleon III, from the highest levels of French society to its lowest? He has certainly achieved this, his original plan, but I would not say this is what makes him a realist writer.
No. The reason Emile Zola is a realist writer is because, just like real life, about two-thirds of the way through everything turns to shit.
For the umpteenth time here I am, well into another of his truly great novels, and I can hardly even bear to pick it up and finish it because everything, without a doubt, is about to turn to shit.
That immensely talented young painter whose work is so misunderstood and challenging to the establishment art world has been rejected by the Salon once more. He鈥檚 about to embark on his most brilliant and ambitious work ever, just as poverty and disillusionment set in.
That lovely young woman, that orphan, so in love with the shy, talented artist and so happy with life in the French countryside has returned to Paris and begun to pawn her clothes in order to support her increasingly troubled young husband鈥榮 latest project.
Will this latest work be accepted by the Salon in a well earned and triumphant recognition of his genius? Will public acclaim restore to this lovely, talented and sensitive couple the wealth and happiness they so clearly deserve?
I think we know the answer to that.
If I were ever to write a novel I would want to copy Zola鈥檚 style and subject matter (albeit updated to today) as he is truly a great writer even without any of those modern or post-modern novelistic tricks.
But for a modern Zola, would everything still have to turn to shit on such an unrelentingly consistent basis? I think we know the answer to that too.
Is it because of his wonderfully detailed and evocative descriptions of natural landscapes or of urban life? In my opinion, no.
Is it because of his nuanced understanding of human thought and his skill at accessing and writing about the deepest, most personal psychological motivations of his carefully drawn characters? Again, I would say no.
Is it his careful observation of political and social events and his ability to describe the whole of an age, the Second Empire of Napoleon III, from the highest levels of French society to its lowest? He has certainly achieved this, his original plan, but I would not say this is what makes him a realist writer.
No. The reason Emile Zola is a realist writer is because, just like real life, about two-thirds of the way through everything turns to shit.
For the umpteenth time here I am, well into another of his truly great novels, and I can hardly even bear to pick it up and finish it because everything, without a doubt, is about to turn to shit.
That immensely talented young painter whose work is so misunderstood and challenging to the establishment art world has been rejected by the Salon once more. He鈥檚 about to embark on his most brilliant and ambitious work ever, just as poverty and disillusionment set in.
That lovely young woman, that orphan, so in love with the shy, talented artist and so happy with life in the French countryside has returned to Paris and begun to pawn her clothes in order to support her increasingly troubled young husband鈥榮 latest project.
Will this latest work be accepted by the Salon in a well earned and triumphant recognition of his genius? Will public acclaim restore to this lovely, talented and sensitive couple the wealth and happiness they so clearly deserve?
I think we know the answer to that.
If I were ever to write a novel I would want to copy Zola鈥檚 style and subject matter (albeit updated to today) as he is truly a great writer even without any of those modern or post-modern novelistic tricks.
But for a modern Zola, would everything still have to turn to shit on such an unrelentingly consistent basis? I think we know the answer to that too.
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