Paul DELVAUX |
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Belgium 1897 - 1994
Born in 1897 in Antheit (Belgium), died 20 July 1994, Furnes (Belgium)
World famous Belgian painter and etcher.
Delvaux first studied architecture before becoming an artist. Strongly influenced by the classic tradition at first, he later leaned towards the surrealist imagery of de Chirico and Magritte.
Although classically inspired, his paintings are of a dreamlike surrealism (train stations, trains, Pygmalion, etc.)
He became one of the leading surrealist painters and print-makers with such a distinctive style that once seen, his paintings and lithographs become instantly identifiable.
From 1920 to 1927 the years during which Paul Delvaux became initiated into landscape: "La gare du Quartier Léopold", "The Meuse at Engis", "The pound of frogs"...
From 1927 the first free compositions appear, such as: "The pink lady"; and "The screen", composition influenced by Belgian expressionists as Gustave De Smet, Constant Permeke and even James Ensor.
Paris 1935, Paul Delvaux discovers the works of Giorgio de Chirico, precursor of surrealism.
Progressively he frees himself of these outside influences and takes up, in his own style, great compositions where architecture takes an important place, and in which the artist puts the key character of his work: THE WOMAN. "the Pink Knots", (museum of antwerpen), "The procession in Lace" (Hannover Landmuseum).
Whilst very Young and at school in St. Gilles, Brussels, Paul Delvaux discovers in the museum of the school some skeletons and is deeply impressed when later and after having made many sketches at the museum af natural history, he introduces the skeleton in his work, no longer for gruesome representation but ion the contrary as a real and expressif subject to which he gives life and that in numerous compositions if great intensity: "The Entombment". "crucifixion"
During his Greco-Latin studies, Paul Delvaux was deeply influenced by his teacher, to such an extend that he has always retained a constant interest in history in addition to Greek and Roman archtecture, an interest which henever ceased to transpose in a quantity of compositions with a surprising precision: "The Green Sofa", "The Meeting of Ephese".
Untiringly, Paul Delvaux works, does subject studies, does numerous sketches and drawings which regarding to him are essential to the succes of the final phase: The Painting.
Gifted with tremendous visual memory, Paul Delvaux makes us relive a certain period of his childhood, the one of stations and trains which occupied an important place in the life of the society of those days. "The Light", impalpable element, intigues and interests the artist, numerous paintings are born, where this light studied very carrefully, reinforces the mistery and the poetry of the work by the means of a character, - a lamp - stemming from another era: "The Evening Messenger", "Chrysis".
With the passing years, the composition of the works evolves, and even having sometimes represented Man - "The Narrator" -, Paul Delvaux stays faithful to Woman to whom his work is a sublime tribute.
Paul Delvaux is the painter of dreams anf poetry. he invites us to share them and offers us possibilities of escape, proposes a thousand voyages, but leaves us the marvellous alternative, which is the liberty of choise, according to each individual's receptiveness.
2010: Paul Delvaux. Aux sources de l'œuvre. Laura Neve. Éditions Racine Bruxelles, Belgique.
2009: Paul Delvaux. Peintre des gares, Régine Rémon (dir.). Luc Pire Bruxelles, Belgique, 144 p.
1992: Paul Delvaux et l'essence de la peinture, Marcel Paquet. Éditions de La Différence Paris.
1991: Promenades et entretiens avec Paul Delvaux, Maurice Debra. Éditions Duculot Louvain-la-Neuve, Belgique.
1987: Collection P. Delvaux, Martigny. Fondation Pierre Gianadda Suisse.
1985: Delvaux, Barbara Emerson. Fonds Mercator/Albin Michel Anvers, Belgique/Paris.
1983: Paul Delvaux, Son œuvre aux Musées royaux des beaux-arts de Belgique à Bruxelles, Suzanne Houbart-Wilkin. Éditions Mardaga Wavre, Belgique.
1980 (1991): «La Femme de cire du musée Spitzner», François Rivière et Andreas, À suivre, n° 30, juillet 1980, p. 59-66. Reprise dans Révélations posthumes, Bédérama, 1980 ; Delcourt, Collection «Conquistado» 1991.
1976: Paul Delvaux, Oeuvre Gravé, Mira Jacob. André Sauret, Monaco, 168 p. Comporte 2 lithographies originales (jaquette et frontispice tirées par Mourlot)
1975: Delvaux, Catalogue de l'œuvre peint, Michel Butor, Jean Clair et Suzanne Houbart-Wilkin. Cosmos Monographies, Bruxelles, Belgique, 354 p.
1972: Paul Delvaux, Collection «La Septième Face du Dé», Antoine Terrasse, Éditions Filipacchi Paris, 81p.
1971: 7 dialogues avec Paul Delvaux, Jacques Meuris. Éditions Le Soleil Noir, Paris, 137 p., comporte 5 eaux-fortes orig. de Paul Delvaux (1 en couleurs et 4 en noir), signées par l'artiste et justifiées sur 150 ex. sur papier Vélin BFK Rives, réalisées sur les presses de Lacourière-Frélaut. Format des gravures: (1x) 29,5x21,2 (2x) 29,3x21,2 (1x) 29,3x19 (1x) 14,5x11,5 cm. Format du papier: (5x) 38x28 cm.
1967: Les Dessins de Paul Delvaux, Alex Grall (dir.). Éditions Denoël et Paul Delvaux, 60 p., comporte 1 lithographie originale en couleur de Paul Delvaux "Les Rideaux Mauves", signée par l'artiste et justifiées sur 100 ex. sur papier Vélin de Lana, réalisées sur les presses de R. Kayser, Bruxelles. Format: 37,7x28 cm.
1945: Paul Delvaux ou les Rêves éveillés. Vingt-huit reproductions de tableaux et un portrait du peintre. Bruxelles, La Boétie, René Gaffé. In-8°, 38 p., 29 planches hors texte. ...
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