The Masterpiece by Emile Zola was first published in 1886. My copy was translated by Thomas Walton in 1950 and I must say that I doubt if anyone else could have done a better job. It’s the fouteenth novel in Zola’s Rougon Macquart series, and it’s a great read. I read this one for Back to the Classics Challenge and The Classics Club.
The Masterpiece is Zola’s most autobiographical novel, he based the main characters – a group of artistic friends on some of his own friends and himself. The artist Cezanne was his friend and there must have been plenty of artistic discussions between the two over the years, so Zola would have had plenty of copy to choose from I’m sure. The character Sandoz is based on Zola.
The main character Claude is a serious young artist, his friends think he has great talent and it’s only a matter of time before he becomes his generation’s Delacroix with his art being hung in The Salon and winning prizes. Claude is developing a new style called ‘Open Air’ (Impressionist). However he makes life difficult for himself, painting on enormous canvases and never being happy with his work, never knowing when to stop. His ideas which start off well somehow always go awry and when he does manage to get a painting accepted by The Salon it’s only in the gallery of the ‘refused’ artworks, where everyone laughs at his efforts. However some years later one of his friend’s steals that composition and changes it slightly and the resulting painting and the artist are lauded.
Zola concentrates on Claude’s story and his wife Christine, but his friends are a sculptor, journalist, architect and of course a novelist, and their lives and how they interact with Claude are also a big part of the book.
Germinal has always been my favourite in this series but this one ran it a close thing, although I must warn anyone thinking of reading it – especially in these angst-ridden pandemic times – that it vies with Thomas Hardy for shock and darkness. However there are some lovely descriptions of Paris, especially at night, Claude was in love with the city.
There’s an introduction by the translator Thomas Walton, obviously not to be read until you’ve finished reading the book, but as it happens the one passage that I had marked to quote is in his introduction.
Sandoz (Zola) is speaking to Claude:
“Has it ever struck you that posterity may not be the fair, impartial judge we like to think it is? We console ourselves for being spurned and rejected by relying on getting a fair deal from the future, just as the faithful put up with with the abomination on this earth because they firmly believe in another life where everyone shall have his deserts. Suppose the artist’s paradise turned out to be as non-existent as the Catholic’s, 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 sell for us all, to have lived like slaves, noses to the grindstone all to no purpose!”
Such is life!
I bought my copy of this book in a charity shop in North Berwick one hot summer’s day a few years ago in the glory days of travel. I can’t say that I like the cover though. It’s an Ann Arbor paperback, The University of Michigan Press, and I bought about five other Zola books along with it, all similarly very far from home.
