‚Texts about paintings, painters and sculptors are obvious test cases for issues of representation. A significant corpus of artist stories is scattered through Honore de Balzac“s Comedie humaine which, from Marx to Lukacs to Roland Barthes“s enormously influential S/Z (1970), has been a key literary work for critical debates around French realism. In a series of close readings, Diana Knight explores Barthes“s “model of painting“ – the metaphorical code of painting and sculpture that underpins realist discourse – in the context of Balzac“s fictional representations of the relation between artists, their models and their works of art. Whereas critics have tended to denounce Balzac“s realist aesthetic as complicit with the misogyny of the society he portrays, Balzac and the Model of Painting takes the artist-model relationship, variously gendered in these stories, as the focus of the author“s powerful realist critique of the sexual politics of prostitution and marriage in nineteenth-century France.‘
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