The Unknown Masterpiece by Honoré de Balzac
"The Unknown Masterpiece" is a short story by Honoré de Balzac that explores the themes of artistic aspiration, perception, and the struggle for perfection in the realm of art. The narrative centers on three artists: the venerable painter Master Frenhofer, the established master Francois Porbus, and the aspiring young artist Nicholas Poussin. Poussin initially visits Porbus's studio, where he encounters Frenhofer, who expresses critical views on Porbus's work, claiming it lacks vitality. During his interactions with the older artists, Poussin learns about Frenhofer’s elusive masterpiece—a portrait of a courtesan named Catherine Lescault, which he has been perfecting for a decade but has never completed to his satisfaction.
As the story unfolds, tensions rise when Poussin offers his mistress, Gillette, as a model for Frenhofer, leading to complications in their romantic relationship. Ultimately, when Poussin and Porbus are permitted to view Frenhofer’s long-anticipated painting, they are disheartened to find only a chaotic mass of paint, with no clear image except for the hint of a foot. Frenhofer’s despair at the revelation of his artistic failure culminates tragically as he chooses to destroy his work and end his life. Balzac's story serves as a poignant reflection on the nature of art, the burden of creative ambition, and the relationship between love and artistic obsession.
On this Page
The Unknown Masterpiece by Honoré de Balzac
First published: "Le Chef-d'œuvre inconnu," 1831 (English translation, 1885)
Type of plot: Psychological
Time of work: 1612
Locale: Paris
Principal Characters:
Master Frenhofer , an old painterFrancois Porbus , a former painter to the king of FranceNicholas Poussin , a young painterGillette , Poussin's mistress
The Story
In "The Unknown Masterpiece," Honoré de Balzac describes two meetings of three artists, the old painter Master Frenhofer, the prominent master Francois Porbus, and the young man Nicholas Poussin. As the story begins, Poussin is hesitating before Porbus's door. When Frenhofer appears and is admitted, Poussin follows him into the only painter's studio he has ever seen. Here he is struck by the first important piece of art in the story, Porbus's painting of the Virgin Mary. To Poussin's surprise, Master Frenhofer criticizes the painting for lacking life. When Poussin objects, the older artists challenge him to prove his right to be in the studio by producing a sketch. To illustrate his own emphasis on life and movement, Frenhofer then applies his own touches of color to Porbus's Virgin Mary, making the figure live as he had insisted he could.
Invited to Frenhofer's home, Poussin sees a second fine painting, the Adam of Frenhofer's own master, Mabuse. However, to Frenhofer, this painting, too, lacks some spark of life. As the painters talk, Poussin observes the esteem in which Frenhofer is held, his own lofty standards for art, his wealth, and his knowledge. Poussin is impressed by Frenhofer's description of the painting that he hopes will be his masterpiece, a portrait of a courtesan, Catherine Lescault. Frenhofer, who has devoted ten years to this painting without completing it to his satisfaction, muses that perhaps he simply lacks the right model. At any rate, he refuses to allow anyone to see the painting.
Returning to his garret, Poussin embraces his devoted mistress Gillette, to whom love is all-important, so important that she resents his concentrating on the canvas rather than on her when she poses for him. Hesitantly, Poussin proposes that Gillette pose for Frenhofer. Only when Poussin seems to renounce art for love does she consent, but she warns him that the experiment may result in the end of their love. Perhaps he no longer loves her, she thinks; perhaps, she thinks, he is not worthy of her love.
The second meeting of the three artists takes place three months later. Depressed over his inability to perfect his painting, Frenhofer again thinks of finding a model. When, however, Poussin offers Gillette in return for allowing Porbus and him to view the painting, Frenhofer refuses, as if their seeing his Catherine Lescault would profane her. However, when Gillette, still doubtful, arrives, Frenhofer agrees. At last admitted to his studio, Poussin and Porbus look in vain for the masterpiece. The canvas that Frenhofer shows them is merely a mass of paint, with no discernible image, except for the tip of a foot, which has escaped the layering of colors. To Frenhofer, the figure is there, brought to life by the paint that conceals it. When Poussin blurts out the truth—that there is nothing on the canvas—Frenhofer falls into despair, but soon his dream recaptures him, and once again he sees his Catherine Lescault. At that moment, Poussin remembers his Gillette, discarded and crying. She rebukes him and says that she hates him. Shown to the door by Frenhofer, the painters are chilled by his farewell. That night he burns his pictures and dies.