Balzac mined his own life for details in the first parts of La Peau de Chagrin, and he likely modeled the protagonist Raphaël de Valentin on himself.
Details recounted by Valentin of his impoverished living quarters are autobiographical allusions to Balzac's earliest days as an author: "Nothing could be uglier than this garret, awaiting its scholar, with its dingy yellow walls and odor of poverty.
The roofing fell in a steep slope, and the sky was visible through chinks in the tiles.
There was room for a bed, a table, and a few chairs, and beneath the highest point of the roof my piano could stand."
Although they allow for a degree of embellishment, biographers and critics agree that Balzac was drawing from his own experience.

Other parts of the story also derive from the author's life: Balzac once attended a feast held by the Marquis de Las Marismas, who planned to launch a newspaper – the same situation in which Valentin finds himself after expressing his first wish to the talisman.
Later, Valentin visits the opera armed with a powerful set of glasses that allow him to observe every flaw in the women on stage (to guard against desire).
These may also have been drawn from Balzac's experience, as he once wrote in a letter about a set of "divine" opera glasses he ordered from the Paris Observatory.

More significant is the connection between the women in the novel and the women in Balzac's life.
Some critics have noted important similarities between Valentin's efforts to win the heart of Foedora and Balzac's infatuation with Olympe Pélissier.
A scene in which Valentin hides in Foedora's bedroom to watch her undress is said to come from a similar situation wherein Balzac secretly observed Pélissier.
It's probable that Pélissier was not the model for Foedora, however, since she accepted Balzac's advances and wrote him friendly letters; Foedora, by contrast, declares herself outside the reach of any interested lover.
Critics agree that the "Woman without a Heart" described in the novel is a composite of other women Balzac knew.
The character of Pauline, meanwhile, was likely influenced by another of Balzac's mistresses, Laure de Berny.
Balzac mined his own life for details in the first parts of La Peau de Chagrin, and he likely modeled the protagonist Raphaël de Valentin on himself. Details recounted by Valentin of his impoverished living quarters are autobiographical allusions to Balzac's earliest days as an author: "Nothing could be uglier than this garret, awaiting its scholar, with its dingy yellow walls and odor of poverty. The roofing fell in a steep slope, and the sky was visible through chinks in the tiles. There was room for a bed, a table, and a few chairs, and beneath the highest point of the roof my piano could stand." Although they allow for a degree of embellishment, biographers and critics agree that Balzac was drawing from his own experience.
Other parts of the story also derive from the author's life: Balzac once attended a feast held by the Marquis de Las Marismas, who planned to launch a newspaper – the same situation in which Valentin finds himself after expressing his first wish to the talisman. Later, Valentin visits the opera armed with a powerful set of glasses that allow him to observe every flaw in the women on stage (to guard against desire). These may also have been drawn from Balzac's experience, as he once wrote in a letter about a set of "divine" opera glasses he ordered from the Paris Observatory.
More significant is the connection between the women in the novel and the women in Balzac's life. Some critics have noted important similarities between Valentin's efforts to win the heart of Foedora and Balzac's infatuation with Olympe Pélissier. A scene in which Valentin hides in Foedora's bedroom to watch her undress is said to come from a similar situation wherein Balzac secretly observed Pélissier. It's probable that Pélissier was not the model for Foedora, however, since she accepted Balzac's advances and wrote him friendly letters; Foedora, by contrast, declares herself outside the reach of any interested lover. Critics agree that the "Woman without a Heart" described in the novel is a composite of other women Balzac knew. The character of Pauline, meanwhile, was likely influenced by another of Balzac's mistresses, Laure de Berny.
La Peau de chagrin