![A Marvelous Moment for French Writers and Artists](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_u4VBnVdjrJiyVQJCXCDQ3PaDFlgQUm6HoxvCOAIxMC84KqoX107Cn9QrEW6FfuUTv8UMlrXfoWO0HjeSURQWTxnAZx6L_7ukAOESubhMvu5i1Xv4uru04-ToeqzzTHLNI_Mk0Cqh_pay-nng3qm4c0Svxv2kXynlLecmJgVVMkpLWZeRhx2lfH_THcOCMnGLU=s0-d)
The close friendship, interaction, and parallelism between writers and artists in nineteenth-century France are the subject of Anka Muhlstein’s "The Pen and the Brush." Balzac put more painters into his novels than he did writers, constantly name-checking artists and using them as visual shorthand (old men looked like Rembrandts, innocent girls like Raphaels). Zola, as a young novelist, lived much more among painters than writers, and told Degas that when he needed to describe laundresses he had simply copied from the artist’s pictures. Victor Hugo was a fine Gothicky-Romantic artist in his own right, and an innovative one too.
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