{"id":9580,"date":"2013-09-23T10:07:46","date_gmt":"2013-09-23T14:07:46","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/?p=9580"},"modified":"2014-05-24T10:07:45","modified_gmt":"2014-05-24T14:07:45","slug":"19th-century-balzac-meets-21st-century-bellaart","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2013\/09\/19th-century-balzac-meets-21st-century-bellaart.html","title":{"rendered":"19th-Century Balzac Meets 20th-Century Bellaart<\/center>"},"content":{"rendered":"

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Honor\u00e9 de Balzac [Gerard Bellaart, 1.XII.80]<\/font><\/p><\/div>Gerard Bellaart’s masterly washed-pen drawing of Honor\u00e9 de Balzac testifies to his great admiration for one of France’s most prodigious writers. He is particularly fond of the 19th-century Balzac novel Illusions perdues<\/a>,<\/em> about a young poet living in Angoul\u00eame, a provincial town in “France profonde,” who is desperate to make a name for himself in Paris.<\/p>\n

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Gerard Bellaart<\/a> in his studio. [JH, 2013]<\/font>
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A painting by Bellaart, photographed in his studio. [JH: 2013]<\/p><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"

Gerard Bellaart’s masterly washed-pen drawing of Honor\u00e9 de Balzac testifies to his great admiration for one of France’s most prodigious writers. He is particularly fond of the 19th-century Balzac novel Illusions perdues, about a young poet living in Angoul\u00eame, a provincial town in “France profonde,” who is desperate to make a name for himself in […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[19],"tags":[],"class_list":{"0":"post-9580","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-art","7":"entry","8":"has-post-thumbnail"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-2uw","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/9580","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=9580"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/9580\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=9580"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=9580"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=9580"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}