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see Husson, JulesHusson or Fleury, Jules
, 1821–89, French novelist who wrote under the name Champfleury
. Considered a pioneer of French realism, Champfleury was an avid collector of French art and artifacts and
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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



(also Fleury, pen name of Jules-François-Félix Husson). Born Sept. 10, 1821, in Laon, Aisne Department; died Dec. 6, 1889, in Sevres, Hauts-de-Seine Department. French writer.

Champfleury studied at a college (a locally financed or privately owned secondary school) in Laon. In the mid-1840’s he began contributing to magazines. His Chien-Caillou (1847) and other collections of short stories and sketches depicted the life of Parisian Bohemians.

A circle of writers formed around Champfleury; their hypercritical work was labeled “realism” by their literary opponents. Champfleury adopted the term, applying it to his own aesthetic theories, which combined tenets of realism with ideas close to those of naturalism and of “art for art’s sake.” He considered the portrayal of the lower classes of society to be the chief task of literature. Champfleury embodied his aesthetic views in such novels as The Sufferings of Schoolmaster Delteil (1853) and The Bourgeois of Molencharat (1855).


In Russian translation:
”Iz knigi Realizm.” In the collection Literaturnye manifesty frantsuzskikh realistov. [Leningrad, 1935.]


Istoriia frantsuzskoi literatury, vol. 2. Moscow, 1956.
Reizov, B. G. Frantsuzskii roman XIX v. Moscow, 1969.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
(41.) See Courbet's description of the painting while it was in progress (letter to Champfleury, November-December 1854), in Gustave Courbet, Letters of Gustave Courbet, ed.
Champfleury's text in "L'Homme aux figures de cire" varies widely, at times committed to the exactitude of scientific or historical observation and yet at other times crossing into fantasy/fiction, making the wax figures into real people/characters with imagined life stories and personalities.
O texto que segue, e que gostaria de propor como reflexao sobre a concepcao de realismo de Courbet, assim como sobre sua importancia para a literatura e as artes, e uma carta que o critico e amigo do pintor, Jules Champfleury, escreve a Georges Sand em 1855.
Each of the famous paintings generated whole portfolios of spoofs, a good many of which called into question (not always groundlessly) his ability to paint at all: Champfleury complained of the common view that Courbet studied painting while minding hogs.
After an interrupted education, Champfleury went to Paris and lived a bohemian existence in a literary group that included the poet Charles Baudelaire.
Louise de Champfleury; music, Jean Dindinaud, Nicolas Neidhardt; production design, Emmanuelle Duplay; sound, Jerome Thiault.
Geoffroy Tory's Champfleury of 1529 presented a stable set of Roman characters designed to demonstrate the perfect analogy of writing to the human body and to the cosmos.
Neanmoins, ce n'est qu'apres 1850 que le realisme en tant que doctrine et esthetique va s'imposer avec les peintres Honore Daumier, Jean-Francois Millet et surtout Gustave Courbet d'une part, et avec les ecrivains Champfleury, Duranty et Murger, d'autre part.
Like many of his French contemporaries, he was virtually forgotten after his death, to be suddenly and rapidly acclaimed once again, when he was rediscovered in the mid-1840s by critics such as Champfleury, Theophile Gautier, and Thore-Burger (who was also instrumental in reclaiming Vermeer after his long eclipse).