Balzac. Interior designer.
Somogy| N° d'inventaire | 20167 |
| Format | 25 x 28 |
| Détails | 256 p., 120 illustrations, paperback with flaps. |
| Publication | Paris, 2016 |
| Etat | Nine |
| ISBN | 9782757210345 |
In the heart of Touraine, the Château de Saché is one of Honoré de Balzac's favorite places of inspiration. From 1825 to 1848, he regularly visited Jean Margonne, the owner of the property. In the small room reserved for him, Balzac found silence and austerity, which, far from the turbulence of Parisian life and his financial worries, allowed him to work twelve to sixteen hours a day. Each room evokes, through a typology of seats, cabinetwork, and bronzes, the furnishings of the time. The furniture exhumed from the mythical reserves of the Mobilier National (National Furniture) serves as a pretext for developments and comparisons with the descriptions of the novel. As always with Balzac, the literary developments around and on the decor and furnishings take on a social and psychological specificity, since in the author of La Comédie humaine: "By a singular law, everything in a house imitates the one who reigns there, his spirit hovers there." Under Balzac's light, the furniture is continually replaced in its historical and artistic context of the times. The most modest interiors are evoked up to the luxury of the Parisian salons of the aristocracy and finance. The work offers, through the tour of the rooms of the castle, a reading of the plans of the houses of Père Goriot or of Le Lys dans la Vallée, a scenography with the view of the table in the sumptuous especially of a house in a newly built district of La Comédie humaine, of the provincially opulent room of the Curé of Tours or the antique shop of La Peau de chagrin, and sheds light on the creative process of Honoré de Balzac.
In the heart of Touraine, the Château de Saché is one of Honoré de Balzac's favorite places of inspiration. From 1825 to 1848, he regularly visited Jean Margonne, the owner of the property. In the small room reserved for him, Balzac found silence and austerity, which, far from the turbulence of Parisian life and his financial worries, allowed him to work twelve to sixteen hours a day. Each room evokes, through a typology of seats, cabinetwork, and bronzes, the furnishings of the time. The furniture exhumed from the mythical reserves of the Mobilier National (National Furniture) serves as a pretext for developments and comparisons with the descriptions of the novel. As always with Balzac, the literary developments around and on the decor and furnishings take on a social and psychological specificity, since in the author of La Comédie humaine: "By a singular law, everything in a house imitates the one who reigns there, his spirit hovers there." Under Balzac's light, the furniture is continually replaced in its historical and artistic context of the times. The most modest interiors are evoked up to the luxury of the Parisian salons of the aristocracy and finance. The work offers, through the tour of the rooms of the castle, a reading of the plans of the houses of Père Goriot or of Le Lys dans la Vallée, a scenography with the view of the table in the sumptuous especially of a house in a newly built district of La Comédie humaine, of the provincially opulent room of the Curé of Tours or the antique shop of La Peau de chagrin, and sheds light on the creative process of Honoré de Balzac.