In realist fiction, the typology of artists’ studios implies the narrative and symbolic management of their addresses and uses shared systems of knowledge: the inter-dependence between typology and topography therefore constructs a collection of topoi, of which the locations where art takes place constitute the topotopes, as it were. These say something, regarding a state, a situation, a status in society, with which also interact the predispositions of temperament and the affects of mood. At the same time as they are witness to the evolutions of both Parisian urbanism and the ratings of its different areas, the information given by fiction engages our understanding of the representations linked to the careers of fictional artists. During the second half of the century, these representations become so dark that they no longer seem to have any other issue but the politicisation of the topotope.