Paul Delvaux - Knowledge

333: 834: 48: 345: 578:, and they resumed their close relationship. The next year, Delvaux divorced his first wife Suzanne and moved to a temporary new home with Tam. In 1951, the reunited couple built a small house/studio in the coastal dunes of Saint-Idesbald. The pair married on 25 October 1952, and would be inseparable for many years until Tam's death in 1989. 695:). It foregrounded women in classical garb outside a Roman-style villa, while in the far background (upper reaches of the mural) the figures were nude. The mural has been preserved and restored, but is located in an area now infrequently visible to the public. In 1960, he again worked with Gabriels to paint the mural 909:

The Place of Men – Delvaux men often appear absent-minded, old-fashioned, or even ridiculous. Due to the lack of a convenient model, the artist often portrayed himself for male nudes. Other characters include the "ordinary man in the street" in a business suit, and the geologist (Otto Lidenbrock) and

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urban scenes or classical ruins, depicting absurdist tableaus with a dream-like precision clarity. Delvaux sometimes would place himself in the scene, appearing either nude or fully-dressed in a business suit. Elements that appear frequently include mirrors, the full or crescent moon, candles, books,

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That same year, the Paul Delvaux Foundation was created with the approval of the King of Belgium; its primary goal was to create a museum dedicated to the artist. Tam's health was starting to decline, but she wrote a note encouraging her husband to continue creating art for as long as he was able to.

286:. He was then disqualified due to his weakness in mathematics, and dropped out after his first year. Delvaux was worried about his future career, and passed the time by copying postcards. His mother advised him to paint from nature, and in 1919 he produced his first watercolors of some scenic vistas. 494:

Although Delvaux associated for a period with the Belgian surrealist group, he did not consider himself "a Surrealist in the scholastic sense of the word." As Marc Rombaut has written of the artist: "Delvaux ... always maintained an intimate and privileged relationship to his childhood, which is the

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In 1929, Delvaux first met Anne-Marie de Maertelaere, whom he nicknamed "Tam", and they fell in love. However, his domineering mother forced him to separate from Tam, exacting his promise to never see her again. Delvaux was greatly saddened by this, and his paintings took on a more isolated, lonely,

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posture. In 1954–1956 Delvaux collaborated with Salkin for a series of wall panels at the house of Gilbert Périer in Brussels. They portrayed women in either contemporary or classical costume in Greco-Roman architectural settings, contrasting with one panel depicting an all-male dining table scene.

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In the late 1950s, he turned temporarily from painting nudes to producing a number of night scenes in which trains are observed by a little girl in a dress, viewed from behind. These compositions contained nothing overtly surrealistic, yet the unnatural clarity of moonlit detail is hallucinatory in

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A Tribute to Women – Delvaux women are omnipresent in his work, but are disengaged and remote from the viewer, their expressionless gaze and focus elsewhere. They are usually nude or semi-nude, often adorned with gauze, feathers, floral headpieces, or elaborate jewelry. His future wife Tam appears

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In the 1970s and 1980s, Delvaux's eyesight gradually deteriorated. His brushwork became less precise and more impressionistic, and his colors became brighter and more vivid. His work became "less anxious, quieter, and more meditative". His later paintings shed their longtime motifs, and focused

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In 1966, Delvaux began working with the 22-year-old model Danielle Caneel, using her slim figure as inspiration over the next 17 years in numerous drawings and studies. With a few exceptions, he did not depict her face or cropped brunette hair in his finished paintings, preferring to substitute

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Delvaux became famous for paintings usually featuring one or several nude or semi-nude women who gaze languidly into space as if hypnotized, gesturing mysteriously, sometimes reclining incongruously in a train station or wandering through classical buildings. Sometimes they are accompanied by

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Delvaux perfected his mature artistic style between 1937 and 1941, reflecting both his sublimated desires and the increasing anxiety of the times. The artist's own continuing awkward presence in his paintings, along with skeletons and various male characters from Jules Verne novels, were a

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Delvaux usually painted very meticulously and deliberately, after doing numerous preparatory studies and drawings sometimes numbering in the dozens. In addition to these systematic studies, he also made a lesser number of "spontaneous" drawings as independent artworks, more expressive and

468:, as well as that painter's deadpan style in rendering the most unexpected juxtapositions of otherwise ordinary objects. Delvaux would maintain a respectful but uneasy relationship with Magritte, who was his almost-exact contemporary. He also admired the work of his younger contemporary, 884:, windows or openings, and mirrors. The perspectives are sometimes delineated by telegraph wires or steel rails crisscrossing or converging in the distance. Lines, whether straight and man-made, or the curved contours of the body, are often more important than the muted color palette. 406:. His nude figures and portraits from this period are posed somewhat stiffly, whether outdoors or in domestic surroundings indoors. Relatively few of his paintings from the late 1920s have survived, and Delvaux recorded his destruction of 50 of his canvases to re-use the frames. 849:

improvisational in quality. Once he actually had started a major painting, he continued to modify his layout, erasing, moving, or replacing different elements to perfect his artwork. Over a long 60-year career, his perfectionism allowed him to release only around 450 paintings.

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and rolling stock recur often. Longtime friend Paul-Aloïse De Bock commented on Delvaux's thorough knowledge of the development of the Brussels tramway system, from his childhood's horse-drawn trolleys to contemporary electric models, including details of tram bodywork and

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Delvaux acknowledged his influences, saying of de Chirico, "with him I realized what was possible, the climate that had to be developed, the climate of silent streets with shadows of people who can't be seen, I've never asked myself if it's surrealist or not."

752:. It shows a surreal outdoors panorama, depicting "the cave, the thick forest, the naked or dressed girls, the trains and tracks meticulously illustrated in the small station, the lights and electricity poles, the moon, the mailbox". 206:

Throughout his long career, Delvaux explored "Nude and skeleton, the clothed and the unclothed, male and female, desire and horror, eroticism and death – Delvaux's major anxieties in fact, and the greater themes of his later work ".

665:(Expo 58). It was a 3-by-5-metre (9.8 ft × 16.4 ft) oil painting, depicting a map of Belgium and the locations where writers associated with the country were born, lived, or worked, including foreign authors such as 821:

In 1988, Delvaux left his studio in Saint-Idesbald to spend more time at home in Veurne with his ailing wife. He continued to make drawings, often at large scale, so he could still work on them despite his failing eyesight.

669:. The map shows various sites in Belgium's towns and cities, and is decorated with flute players and mermaids painted by Delvaux. In 1976, Delvaux attended the formal transfer of the painting to a lecture hall at the 544:

In January 1945, Delvaux had a major retrospective show at the Palais des Beaux-Arts, including 57 large-scale canvases. "Public and critical reception was mixed, divided between admiration and incomprehension."

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Delvaux would repeat variations on these themes for most of his long career, although some departures can be noted. Among them are his paintings of 1945–1947, rendered in a flattened style with distorted and

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at the Court of Appeal in Brussels. His mother was the musician Laure Jamotte, who became a strong, dominant presence in his life, directing, controlling, and repressing his childhood and adolescent desires.

538:. In 1943, Delvaux finished the first of what would become a series of articulated skeletons in his paintings, posed in lifelike stances and interacting with other skeletons or occasionally with nude women. 2666:

Rivière, François; Martens, Andreas. "La Femme de cire du musée Spitzner", À suivre, n° 30, juillet 1980, pp. 59–66. Reprise dans Révélations posthumes, Bédérama, 1980; Delcourt, coll. "Conquistador",

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in Brussels, who made several portraits of the aging artist. With the approval of the artist, Charles Van Deun purchased an old hotel/restaurant, Het Vlierhof, in Saint-Idesbald, to house the new museum.

2201:, p. 35: Delvaux remarked of his youth, "My overriding passion was the books of Jules Verne.... I was completely fascinated by the engraving of Riou showing Otto Lidenbrock the wise geologist from 887:

In contrast to the cool, isolated detachment of his painted figures, Delvaux's smaller drawings and sketches more frequently show figures touching, embracing, and interacting closely with each other.

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Gallery in New York City mounted a show of Delvaux paintings, which was well received by critics. However, two of his paintings had been seized by customs as obscene, and one of them was damaged.

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increasingly on the female figure, often in multiples, and now interacting with each other more than the detached figures of earlier paintings. These paintings have been compared to the works of

264:. His artwork was to be greatly influenced by these works, starting with his earliest drawings showing mythological scenes. His music lessons were conducted in the school's museum room, where a 722:

idealized symmetrical facial features and long blonde hair. The 1960s and 1970s were a period of high productivity for his paintings, and also increasing international recognition of his art.

650: 3812: 372:. Delvaux completed some 80 paintings between 1920 and 1925. His early paintings were mostly post-impressionist, somber landscapes, but also included dark, gritty urban scenes, such as 1878: 797:) opened, with the artist and his wife in attendance. The museum has acquired the world's largest collection of paintings, watercolors, drawings, sketchbooks, and prints by Delvaux. 604:

effect. Trains had always been a subject of special interest to Delvaux, who never forgot the wonder he felt as a small child at the sight of the first electric trams in Brussels.

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René Gaffé, Paul Delvaux ou les Rêves éveillés. Vingt-huit reproductions de tableaux et un portrait du peintre. Bruxelles, La Boétie, 1945. In-8°, 38 p., 29 planches hors texte.

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Skeletons as Architecture of Life – Delvaux paradoxically uses human skeletons as an affirmation of life, sometimes posing them more expressively than his dispassionate nudes.

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Tam died on 21 December 1989. At this point Delvaux completely abandoned creating artworks. He died in Veurne on 20 July 1994, and was buried there next to his beloved wife.

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astronomer (Palmyrin Rosette) from novels by Jules Verne. After 1943, male figures appear infrequently, but his classic male archetypes reappear in his reprised masterwork

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In the post-war years, Delvaux continued the productive period he had started under the German occupation, painting many works that would later establish his reputation.

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with his aunts for eight days, but then returned to Brussels. He spent the war years quietly at home continuing to paint, but exhibiting nothing in Belgium. His painting

811:). Delvaux and Tam moved to a large house in Veurne. He visited his museum almost daily, and continued to create art, transitioning more to pencil, ink, and watercolor. 928: 2730: 748:("Legendary Voyage"), measuring 4.4-by-13-metre (14 ft × 43 ft). Originally installed at the Casino de Chaudfontaine, it was later moved to the 585:

to paint a mermaid on the front of a friend's house in Saint-Idesbald. However, since then the fresco has been largely erased by the effects of weathering.

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noted for his dream-like scenes of women, classical architecture, trains and train stations, and skeletons, often in combination. He is often considered a

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In 1924, he set up a studio in his parents' house, at 15 Rue Ecosse (Schotlandstraat), Brussels. In 1925, he had his first solo exhibition, in Brussels.

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underlying motivation for his work and always manages to surface there. This 'childhood,' existing within him, led him to the poetic dimension in art."

461:, which he had first encountered in 1926 or 1927. Delvaux women wear elaborate costumes or are semi-nude, in scenes of classical ruins or dark forests. 425: 902:

Architectural Elements – Ancient Greek or Roman buildings, ruins, and architectural fragments appear, as well as early 20th-century urban structures.

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Goupil, Tony. "Quand l'univers delvalien rencontre l'univers vernien", Bulletin de la Société Jules Verne, No. 195, November 2017, pp. 33–45

630:, whose theme that year was "Fantasy in Art". He exhibited his paintings of religious scenes enacted by skeletons, but the show was censored for 414: 324:. During 1920–1921, he also performed his mandatory military service as a minor logistics clerk, while studying with Delville at the Académie. 600:

scenes enacted by skeletons. Some of his paintings from this period are almost monochromatic, showing more concern for line than for color.

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repeatedly in sketches and drawings starting in the 1930s, but is replaced by more generic faces after their reunion and marriage in 1952.

675: 3716: 1787: 231:, but his mother went to her own mother's home to have her first child. His birthplace house would later be destroyed by fire, in 1940. 3721: 691:("Earthly Paradise"), a 42-by-4.5-metre (138 ft × 15 ft) mural at the Palais des Congrès in Brussels (now part of the 216: 75: 2320: 435:), a collection of medical curiosities, displayed wax models of bizarrely deformed anatomical specimens and diseases, including 3792: 2762: 498:

On 16 January 1937, his father died. In July that year, Delvaux married Suzanne Purnal; the artist later said it was purely a

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figure were displayed in a window with red velvet curtains. This spectacle fascinated Delvaux, supplying him with some of the

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In 1974, Delvaux, with assistance of Raymond Art, Fernand Flausch, Alain Denis, and M Huysmans, painted

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The gaze of the viewer is central to his paintings, often modulated by unusual viewpoints and multiple

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counterpoint to his idealized female nudes, who gradually became more relaxed in their elegant beauty.

1853:"Une fresque de 42 mètres de long de Paul Delvaux nichée dans l'ancienne entrée du Palais des Congrès" 191:, although he only briefly identified with the Surrealist movement. He was influenced by the works of 3741: 2936: 3625: 3610: 2886: 2802: 941: 681: 641:

In 1956 Delvaux visited Greece, where classical architecture originated, the land of Homer and the

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Delvaux collaborated on this 1978 mural depicting old-fashioned trams and their passengers in the

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Index biographique des membres et associés de l'Académie royale de Belgique (1769–2005). p 83

272: 833: 645:. He also visited Italy, reinforcing his favored themes of classical settings and costumes. 3767: 3762: 3686: 3640: 3006: 399: 3176: 1760: 430: 8: 3574: 3011: 2879: 2860: 786: 349: 283: 1879:"Deux fresques géantes de Magritte et Delvaux enfin visibles temporairement à Bruxelles" 703:

Institute of Zoology (now l'Aquarium-Muséum de Liège or Dubuisson Aquarium). It shows a

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In 1978, he collaborated with Raymond Art and Charles Van Deun to paint the monumental

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In 1916, he started at the Académie, initially learning the basics of architecture and

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Paul Delvaux : son œuvre aux Musées royaux des beaux-arts de Belgique à Bruxelles

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In the mid-1930s Delvaux also began to adopt some of the motifs of his fellow Belgian

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and three students from La Cambre to produce a wall mural at the gaming room in the

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Trains, Trams, and Stations – Although replaced by electric trains, old-fashioned

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Initially, Delvaux was influenced by the style of 19th-century French and Belgian

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also encouraged Delvaux, whose works from this period were primarily naturalistic

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In 1959 Delvaux collaborated with Ysette Gabriels and Charles Van Deun to paint

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From 1950 to 1962, Delvaux served as professor of "monumental painting" at the

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In 1946, he experimented briefly with exaggerated perspectives and a flattened

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In August 1947, Delvaux again met Tam in a chance encounter at a newsstand in

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Throughout the mature Delvaux artworks, certain motifs appear repeatedly:

3241: 3231: 3086: 3076: 3036: 2941: 2916: 1905:""La Genèse" de Paul Delvaux - Liège, Belgium - Murals on Waymarking.com" 778: 708: 593: 568: 502:. He made his first trip to Italy, and would return there the next year. 444: 403: 251: 3595: 2132: 2117: 2086: 2071: 1958: 1818: 1556: 1537: 1470: 1458: 1400: 1298: 1181: 1094: 3630: 3469: 3151: 2902: 2289: 2265: 2180: 2168: 2156: 2105: 1970: 1934: 1259: 1154: 1106: 854: 383: 382:

Delvaux's paintings of the late 1920s and early 1930s began to feature

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In 1932, Delvaux found fresh inspiration in visits to the Midi Fair (

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Coll., P. Delvaux, Martigny, Suisse, Fondation Pierre Gianadda, 1987

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effects. At that time, he had felt trapped in a loveless marriage.

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and ocean surfside scenes started to appear among his paintings.

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In 1958, Delvaux led a team of La Cambre students in painting

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In 1919, Delvaux returned and studied with decorative painter

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Paul Delvaux : L'homme, le peintre, psychologie d'un art

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scene with grazing animals, female classical figures, and an

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A change of style around 1933 reflected the influence of the

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Butor, Michel; Clair, Jean; Houbart-Wilkin, Suzanne (1975).

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in landscapes, and were strongly influenced by such Flemish

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Academic staff of the Royal Academy of Fine Arts, Brussels

2532:(in French). Louvain-la-Neuve, Belgium: Éditions Duculot. 2261:. Translated by Lane, Helen R. New York City: Grove Press. 1729: 929:

Royal Academy of Science, Letters and Fine Arts of Belgium

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From 1910 to 1916, he studied Classics at the Atheneum of

2418:(in French). Lausanne / Paris: La Bibliothèque des Arts. 2394: 2369: 2345: 2307: 2295: 2271: 2186: 2174: 2162: 2150: 2138: 2126: 2111: 2099: 2080: 1976: 1964: 1940: 1827: 1711: 1571: 1550: 1483: 1464: 1413: 1307: 1292: 1277: 1265: 1192: 1175: 1160: 1148: 1136: 1124: 1112: 1100: 960: 19:

This article is about the painter. For the sculptor, see

1946: 1424: 1422: 1340: 1328: 684:) in Brussels, where it remains publicly visible today. 1657: 1655: 1318: 1316: 1058: 2277: 2238: 2226: 2214: 2207:. I reproduced this for the first time in 1939 in the 1833: 1628: 1489: 1446: 1048: 1046: 1044: 1042: 2587: 1419: 1388: 1352: 991: 483:, de Chirico, and Magritte in an exhibition entitled 2437:. Saint-Idesbald, Belgium: Paul Delvaux Foundation. 2399:. Saint-Idesbald, Belgium: Foundation Paul Delvaux. 2192: 1741: 1652: 1513: 1313: 1247: 2351: 1640: 1364: 1235: 1082: 1039: 1027: 1015: 814:In 1986, Delvaux painted his last canvas, entitled 2592:(in French). Wavre, Belgium: Éditions P. Mardaga. 1859:(in French). BX1 TV / Proximus TV. 9 November 2019 1788:"Les Archives & Musée de la Littérature (AML)" 1376: 1070: 1003: 447:that would appear throughout his subsequent work. 376:("Railroad Workers of Luxembourg Station", 1922). 162:Anne-Marie "Tam" de Maertelaere (m. 1952, d. 1989) 2508:Paul Delvaux : l'homme qui aimait les trains 718:, and then promoted to be its president in 1965. 592:, Brussels. In the 1950s, he painted a series of 3754: 2630:(in French). Paris: Éditions de la Différence. 2588:Houbart-Wilkin, Suzanne; Delvaux, Paul (1983). 2551:(in English and French). Chicago: J.P. O'Hara. 203:with the bizarre juxtapositions of surrealism. 2570:(in French). Anvers, Belgium: Fonds Mercator. 2887: 2756: 2530:Promenades & entretiens avec Paul Delvaux 634:by Cardinal Roncalli (who would later become 2644: 515:Germans invaded and occupied Belgium in 1940 3808:Royal Academy of Fine Arts, Brussels alumni 2606: 2054:"Paul Delvaux – Nos vieux trams bruxellois" 210: 3722:London International Surrealist Exhibition 2894: 2880: 2763: 2749: 2731:Biography at the Guggenheim Museum Website 2609:Paul Delvaux : aux sources de l'œuvre 714:In 1963 he was named vice-director of the 424:) in Brussels, where the Spitzner Museum ( 279:despite his ambition to become a painter. 234:His father was Jean Delvaux, a prosperous 180:; 23 September 1897 – 20 July 1994) was a 2611:(in French). Bruxelles: Éditions Racine. 2510:(in French). Gent: Bruxelles TrainWorld. 2482:Paul Delvaux : Surrealizing the nude 1211: 1209: 1207: 1205: 1203: 1201: 215:Delvaux was born on 23 September 1897 in 3717:Exposition Internationale du Surréalisme 2628:Paul Delvaux et l'essence de la peinture 2505: 832: 343: 331: 52:Paul Delvaux signing autographs (1972), 3803:Members of the Royal Academy of Belgium 2565: 2546: 2460: 2451: 2283: 1735: 1428: 1394: 1358: 1346: 1334: 1064: 1033: 1021: 268:in a glass cabinet was always present. 3755: 2625: 2432: 2397:Paul Delvaux : Odyssey of a dream 2256: 2250: 2198: 2020: 2015:Butor, Clair & Houbart-Wilkin 1975 1929:Butor, Clair & Houbart-Wilkin 1975 1813:Butor, Clair & Houbart-Wilkin 1975 1794:(in French). BVNG Redactiesecretariaat 1785: 1724:Butor, Clair & Houbart-Wilkin 1975 1700:Butor, Clair & Houbart-Wilkin 1975 1532:Butor, Clair & Houbart-Wilkin 1975 1508:Butor, Clair & Houbart-Wilkin 1975 1441:Butor, Clair & Houbart-Wilkin 1975 1253: 1198: 374:Les cheminots de la gare du Luxembourg 293:in 1919, he met by chance the painter 2875: 2744: 2647:Paul Delvaux : peintre des gares 2645:Rémon, Régine; Delvaux, Paul (2009). 2527: 2479: 2357: 2244: 2232: 2220: 1952: 1839: 1747: 1661: 1646: 1634: 1519: 1495: 1452: 1382: 1370: 1322: 1241: 1088: 1076: 1052: 1009: 997: 450:His mother died on 31 December 1932. 175: 2416:Delvaux: Catalogue de l'oeuvre peint 661:("Literary Map of Belgium") for the 2736:Paul Delvaux exhibition in Valencia 2607:Neve, Laura; Delvaux, Paul (2010). 2395:Barthelman, Z; Van Deun, J (2007). 1845: 1765:Archives et Musée de la Littérature 860:The settings are often commonplace 828: 671:Archives et Musée de la littérature 607:In 1952, Delvaux collaborated with 581:In 1949, Delvaux experimented with 308:), and other teachers. The painter 160:Suzanne Purnal (m. 1937, div. 1948) 13: 2649:(in French). Bruxelles: Luc Pire. 2499: 2204:Journey to the Centre of the Earth 763:("Our Old Brussels Trams") in the 489:Palais des Beaux-Arts de Bruxelles 327: 14: 3824: 3671:The Surrealist Group in Stockholm 2671: 1761:"Carte littéraire de la Belgique" 626:In 1954, Delvaux joined the 27th 2770: 914:("Homage to Jules Verne", 1971). 693:Square – Brussels Meeting Centre 46: 2375: 2313: 2046: 1990:"The quiet exactness of dreams" 1982: 1897: 1871: 1779: 1753: 1667: 1602: 1577: 800:In 1984, Delvaux was appointed 651:La Carte littéraire de Belgique 530:Delvaux frequently visited the 2901: 2370:Barthelman & Van Deun 2007 2346:Barthelman & Van Deun 2007 2308:Barthelman & Van Deun 2007 2296:Barthelman & Van Deun 2007 2272:Barthelman & Van Deun 2007 2187:Barthelman & Van Deun 2007 2175:Barthelman & Van Deun 2007 2163:Barthelman & Van Deun 2007 2151:Barthelman & Van Deun 2007 2139:Barthelman & Van Deun 2007 2127:Barthelman & Van Deun 2007 2112:Barthelman & Van Deun 2007 2100:Barthelman & Van Deun 2007 2081:Barthelman & Van Deun 2007 1977:Barthelman & Van Deun 2007 1965:Barthelman & Van Deun 2007 1941:Barthelman & Van Deun 2007 1828:Barthelman & Van Deun 2007 1712:Barthelman & Van Deun 2007 1572:Barthelman & Van Deun 2007 1551:Barthelman & Van Deun 2007 1484:Barthelman & Van Deun 2007 1465:Barthelman & Van Deun 2007 1414:Barthelman & Van Deun 2007 1308:Barthelman & Van Deun 2007 1293:Barthelman & Van Deun 2007 1278:Barthelman & Van Deun 2007 1266:Barthelman & Van Deun 2007 1193:Barthelman & Van Deun 2007 1176:Barthelman & Van Deun 2007 1161:Barthelman & Van Deun 2007 1149:Barthelman & Van Deun 2007 1137:Barthelman & Van Deun 2007 1125:Barthelman & Van Deun 2007 1113:Barthelman & Van Deun 2007 1101:Barthelman & Van Deun 2007 966: 961:Barthelman & Van Deun 2007 277:Académie Royale des Beaux-Arts 250:, and absorbed the fiction of 117:Académie Royale des Beaux-Arts 1: 3793:20th-century Belgian painters 3616:Bureau of Surrealist Research 2452:De Bock, Paul-Aloïse (1967). 947: 366:Jean Auguste Dominique Ingres 223:) in the Belgian province of 23:. For the film director, see 2716:Resources in other libraries 2697:Resources in other libraries 2435:Paul Delvaux : his life 2259:The drawings of Paul Delvaux 1885:(in French). 31 October 2019 402:, and the palette colors of 7: 2480:Scott, David H. T. (1992). 935: 716:Académie Royale de Belgique 16:Belgian painter (1897–1994) 10: 3829: 3788:Belgian surrealist artists 2835:The Sacrifice of Iphigenia 2506:Brasseur, Camille (2019). 2484:. London: Reaktion Books. 2388: 1585:"Paul Delvaux (1897–1994)" 921: 853:skeletons, businessmen in 802:Chef de gare d'honneur de 761:Nos vieux trams bruxellois 725:In 1969, Delvaux moved to 663:1958 Brussels World’s Fair 532:Museum of Natural Sciences 242:The young Delvaux studied 18: 3742:Paranoiac-critical method 3679: 3588: 3285: 2909: 2853: 2778: 2711:Resources in your library 2692:Resources in your library 2566:Emerson, Barbara (1985). 1610:"The Geometry of Calvary" 750:Casino de Knokke-le-Zoute 567:In 1947, the influential 156: 136: 122: 112: 102: 83: 61: 45: 38: 3626:Chicago Surrealist Group 3611:British Surrealist Group 2257:Nadeau, Maurice (1968). 2211:(Phases of the Moon I)." 942:List of Belgian painters 682:Royal Library of Belgium 479:In 1934, Delvaux joined 289:On a family vacation in 211:Early life and education 2726:Paul Delvaux Foundation 2626:Paquet, Marcel (1982). 2528:Debra, Maurice (1991). 517:, Delvaux retreated to 500:marriage of convenience 227:. His parents lived in 3798:Belgian erotic artists 3737:Abstract expressionism 3606:Birmingham Surrealists 3295:Maxime Moses Alexandre 3272:Radojica Živanović Noe 2937:Jacques-André Boiffard 2547:Delvaux, Paul (1973). 2461:Rombaut, Marc (1990). 845: 794: 534:in Brussels to sketch 357: 341: 3707:Surrealist techniques 3692:Surrealist automatism 3636:Fighting Cock Society 3375:Roger Gilbert-Lecomte 3360:Vratislav Effenberger 3300:Guillaume Apollinaire 2465:. New York: Rizzoli. 912:Hommage à Jules Verne 836: 785:On 26 June 1982, the 777:In 1981, Delvaux met 347: 335: 304:(a former student of 150:Hommage à Jules Verne 27:. For the brand, see 3687:Surrealist Manifesto 3641:The Firesign Theatre 3425:Comte de Lautréamont 2433:Carels, Guy (2004). 1792:www.contemporanea.be 927:1958: Member of the 746:Le Voyage Légendaire 689:Le paradis terrestre 400:Frits Van den Berghe 340:("Genesis") in Liège 3575:Marianne Van Hirtum 3550:Simon Watson Taylor 3012:Christian Dotremont 2861:Paul Delvaux Museum 2209:Phases de la Lune I 2034:. 12 September 2014 1955:, pp. 15, 112. 1738:, pp. 250–259. 1726:, pp. 278–280. 1534:, pp. 216–217. 1295:, pp. 21, 227. 1178:, pp. 14, 225. 1139:, pp. 224–225. 1127:, pp. 13, 225. 963:, pp. 227–237. 787:Paul Delvaux Museum 701:University of Liège 699:("Genesis") at the 350:Paul Delvaux Museum 284:perspective drawing 3783:Surrealist artists 3052:Alberto Giacometti 3042:Gordon Onslow Ford 2977:Leonora Carrington 2787:Procession in Lace 2327:. 12 December 2016 2153:, pp. 18, 33. 1786:Quaghebeur, Marc. 1681:. 16 November 2020 1616:. 23 December 2016 875:forced perspective 846: 795:Musée Paul Delvaux 459:Giorgio de Chirico 370:Puvis de Chavannes 364:as represented by 358: 342: 306:Puvis de Chavannes 254:and the poetry of 193:Giorgio de Chirico 3773:People from Wanze 3750: 3749: 3727:Women surrealists 3697:Surrealist cinema 3545:Philippe Soupault 3177:Benjamín Palencia 2869: 2868: 2678:Library resources 2577:978-90-6153-143-2 2558:978-0-87955-604-4 2539:978-2-8011-0991-5 2406:978-90-8586-407-3 2310:, pp. 47–48. 2247:, pp. 91–94. 2235:, pp. 35–36. 2223:, pp. 38–40. 1996:. 6 December 2016 1842:, pp. 94–95. 1714:, pp. 96–97. 1637:, pp. 95–96. 1498:, pp. 45–46. 1349:, pp. 10–11. 1337:, pp. 28–29. 1280:, pp. 21–22. 1151:, pp. 13–14. 1067:, pp. 90–92. 1000:, pp. 65–79. 896:steam locomotives 524:La ville inquiète 362:academic painting 201:academic painting 166: 165: 72:23 September 1897 29:Delvaux (company) 3820: 3702:Surrealist music 3621:Chicago Imagists 3601:Les Automatistes 3540:Louis Scutenaire 3480:Vítězslav Nezval 3320:Georges Bataille 3237:Dorothea Tanning 3222:Jindřich Štyrský 3197:Aminollah Rezaei 3092:Jacqueline Lamba 3082:Gerome Kamrowski 3027:Curt Echtermeyer 2982:Ithell Colquhoun 2896: 2889: 2882: 2873: 2872: 2843:The Road to Rome 2811:The Great Sirens 2795:The Anxious City 2765: 2758: 2751: 2742: 2741: 2660: 2641: 2622: 2603: 2581: 2562: 2543: 2521: 2495: 2476: 2457: 2448: 2429: 2410: 2382: 2379: 2373: 2372:, p. 52–54. 2367: 2361: 2355: 2349: 2348:, p. 49–51. 2343: 2337: 2336: 2334: 2332: 2317: 2311: 2305: 2299: 2293: 2287: 2281: 2275: 2269: 2263: 2262: 2254: 2248: 2242: 2236: 2230: 2224: 2218: 2212: 2196: 2190: 2184: 2178: 2172: 2166: 2160: 2154: 2148: 2142: 2136: 2130: 2124: 2115: 2109: 2103: 2097: 2084: 2078: 2069: 2068: 2066: 2064: 2050: 2044: 2043: 2041: 2039: 2032:Belgian Boutique 2024: 2018: 2012: 2006: 2005: 2003: 2001: 1986: 1980: 1974: 1968: 1962: 1956: 1950: 1944: 1938: 1932: 1926: 1920: 1919: 1917: 1915: 1901: 1895: 1894: 1892: 1890: 1875: 1869: 1868: 1866: 1864: 1849: 1843: 1837: 1831: 1825: 1816: 1810: 1804: 1803: 1801: 1799: 1783: 1777: 1776: 1774: 1772: 1757: 1751: 1745: 1739: 1733: 1727: 1721: 1715: 1709: 1703: 1697: 1691: 1690: 1688: 1686: 1671: 1665: 1659: 1650: 1644: 1638: 1632: 1626: 1625: 1623: 1621: 1606: 1600: 1599: 1597: 1595: 1581: 1575: 1569: 1554: 1548: 1535: 1529: 1523: 1517: 1511: 1505: 1499: 1493: 1487: 1481: 1468: 1462: 1456: 1455:, p. 37–48. 1450: 1444: 1438: 1432: 1426: 1417: 1411: 1398: 1392: 1386: 1380: 1374: 1368: 1362: 1356: 1350: 1344: 1338: 1332: 1326: 1320: 1311: 1305: 1296: 1290: 1281: 1275: 1269: 1263: 1257: 1251: 1245: 1239: 1233: 1232: 1230: 1228: 1213: 1196: 1190: 1179: 1173: 1164: 1158: 1152: 1146: 1140: 1134: 1128: 1122: 1116: 1110: 1104: 1098: 1092: 1086: 1080: 1074: 1068: 1062: 1056: 1050: 1037: 1031: 1025: 1019: 1013: 1007: 1001: 995: 989: 988: 986: 984: 970: 964: 958: 882:vanishing points 829:Style and themes 804:Louvain-La-Neuve 711:reclining nude. 679: 667:Charlotte Brontë 659: 564:("Black City"). 455:metaphysical art 434: 423: 392:Constant Permeke 302:Constant Montald 179: 174: 139: 90: 71: 69: 50: 36: 35: 3828: 3827: 3823: 3822: 3821: 3819: 3818: 3817: 3753: 3752: 3751: 3746: 3675: 3584: 3515:Raymond Queneau 3510:Jacques Prévert 3500:Rastko Petrović 3460:Robert Melville 3440:Georges Limbour 3420:Philip Lamantia 3325:Monny de Boully 3287: 3281: 3267:James F. Walker 3257:Albert Valentin 3247:Kristians Tonny 3217:Martin Stejskal 3192:Toni del Renzio 3172:Wolfgang Paalen 3167:Méret Oppenheim 3147:E. L. T. Mesens 3112:Georges Malkine 3047:Esteban Francés 3007:Óscar Domínguez 2962:Jacques Brunius 2957:Emmy Bridgwater 2905: 2900: 2870: 2865: 2849: 2774: 2769: 2722: 2721: 2720: 2705:By Paul Delvaux 2702: 2701: 2686: 2685: 2681: 2674: 2657: 2638: 2619: 2600: 2578: 2559: 2540: 2518: 2502: 2500:Further reading 2492: 2473: 2445: 2426: 2407: 2391: 2386: 2385: 2380: 2376: 2368: 2364: 2356: 2352: 2344: 2340: 2330: 2328: 2325:Invisible Forms 2319: 2318: 2314: 2306: 2302: 2294: 2290: 2282: 2278: 2270: 2266: 2255: 2251: 2243: 2239: 2231: 2227: 2219: 2215: 2197: 2193: 2185: 2181: 2173: 2169: 2161: 2157: 2149: 2145: 2137: 2133: 2125: 2118: 2110: 2106: 2098: 2087: 2079: 2072: 2062: 2060: 2052: 2051: 2047: 2037: 2035: 2026: 2025: 2021: 2013: 2009: 1999: 1997: 1994:Invisible Forms 1988: 1987: 1983: 1975: 1971: 1963: 1959: 1951: 1947: 1939: 1935: 1927: 1923: 1913: 1911: 1903: 1902: 1898: 1888: 1886: 1877: 1876: 1872: 1862: 1860: 1851: 1850: 1846: 1838: 1834: 1826: 1819: 1811: 1807: 1797: 1795: 1784: 1780: 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161: 148: 137: 98: 92: 88: 79: 73: 67: 65: 57: 41: 32: 21:Laurent Delvaux 17: 12: 11: 5: 3826: 3816: 3815: 3810: 3805: 3800: 3795: 3790: 3785: 3780: 3778:Walloon people 3775: 3770: 3765: 3748: 3747: 3745: 3744: 3739: 3734: 3729: 3724: 3719: 3714: 3712:Surreal humour 3709: 3704: 3699: 3694: 3689: 3683: 3681: 3677: 3676: 3674: 3673: 3668: 3663: 3658: 3653: 3648: 3643: 3638: 3633: 3628: 3623: 3618: 3613: 3608: 3603: 3598: 3592: 3590: 3586: 3585: 3583: 3582: 3577: 3572: 3567: 3562: 3557: 3552: 3547: 3542: 3537: 3535:Georges Sadoul 3532: 3527: 3525:Pierre Reverdy 3522: 3517: 3512: 3507: 3502: 3497: 3495:Benjamin Péret 3492: 3487: 3482: 3477: 3475:Pierre Naville 3472: 3467: 3462: 3457: 3452: 3447: 3442: 3437: 3432: 3430:Marcel Lecomte 3427: 3422: 3417: 3412: 3407: 3402: 3397: 3395:Georges Hugnet 3392: 3387: 3382: 3377: 3372: 3370:Renée Gauthier 3367: 3362: 3357: 3352: 3347: 3342: 3337: 3335:Roger Caillois 3332: 3327: 3322: 3317: 3312: 3310:Antonin Artaud 3307: 3302: 3297: 3291: 3289: 3283: 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links 2670: 2669: 2668: 2664: 2661: 2656:978-2507002077 2655: 2642: 2637:978-2729101053 2636: 2623: 2618:978-2873866778 2617: 2604: 2599:978-2802100492 2598: 2585: 2582: 2576: 2563: 2557: 2544: 2538: 2525: 2522: 2516: 2501: 2498: 2497: 2496: 2490: 2477: 2471: 2458: 2449: 2443: 2430: 2424: 2411: 2405: 2390: 2387: 2384: 2383: 2374: 2362: 2350: 2338: 2312: 2300: 2288: 2286:, p. 284. 2276: 2264: 2249: 2237: 2225: 2213: 2191: 2179: 2167: 2155: 2143: 2141:, p. 238. 2131: 2129:, p. 237. 2116: 2104: 2102:, p. 236. 2085: 2083:, p. 235. 2070: 2045: 2019: 2017:, p. 276. 2007: 1981: 1969: 1967:, p. 234. 1957: 1945: 1933: 1931:, p. 281. 1921: 1909:Waymarking.com 1896: 1870: 1844: 1832: 1830:, p. 233. 1817: 1815:, p. 280. 1805: 1778: 1752: 1750:, p. 132. 1740: 1728: 1716: 1704: 1702:, p. 277. 1692: 1679:Ostend Kursaal 1675:"DELVAUX HALL" 1666: 1664:, p. 124. 1651: 1639: 1627: 1601: 1576: 1574:, p. 232. 1555: 1553:, p. 231. 1536: 1524: 1522:, p. 131. 1512: 1510:, p. 200. 1500: 1488: 1486:, p. 230. 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2569: 2564: 2560: 2554: 2550: 2545: 2541: 2535: 2531: 2526: 2523: 2519: 2517:9789461615725 2513: 2509: 2504: 2503: 2493: 2491:0-948462-39-6 2487: 2483: 2478: 2474: 2472:0-8478-1201-4 2468: 2464: 2459: 2455: 2450: 2446: 2444:90-76704-55-4 2440: 2436: 2431: 2427: 2425:2-85047-003-1 2421: 2417: 2412: 2408: 2402: 2398: 2393: 2392: 2378: 2371: 2366: 2360:, p. 59. 2359: 2354: 2347: 2342: 2326: 2322: 2316: 2309: 2304: 2298:, p. 46. 2297: 2292: 2285: 2280: 2274:, p. 45. 2273: 2268: 2260: 2253: 2246: 2241: 2234: 2229: 2222: 2217: 2210: 2206: 2205: 2200: 2195: 2189:, p. 19. 2188: 2183: 2177:, p. 38. 2176: 2171: 2165:, p. 39. 2164: 2159: 2152: 2147: 2140: 2135: 2128: 2123: 2121: 2114:, p. 67. 2113: 2108: 2101: 2096: 2094: 2092: 2090: 2082: 2077: 2075: 2059: 2055: 2049: 2033: 2029: 2023: 2016: 2011: 1995: 1991: 1985: 1979:, p. 58. 1978: 1973: 1966: 1961: 1954: 1949: 1943:, p. 98. 1942: 1937: 1930: 1925: 1910: 1906: 1900: 1884: 1880: 1874: 1858: 1854: 1848: 1841: 1836: 1829: 1824: 1822: 1814: 1809: 1793: 1789: 1782: 1766: 1762: 1756: 1749: 1744: 1737: 1732: 1725: 1720: 1713: 1708: 1701: 1696: 1680: 1676: 1670: 1663: 1658: 1656: 1649:, p. 92. 1648: 1643: 1636: 1631: 1615: 1611: 1605: 1590: 1586: 1580: 1573: 1568: 1566: 1564: 1562: 1560: 1552: 1547: 1545: 1543: 1541: 1533: 1528: 1521: 1516: 1509: 1504: 1497: 1492: 1485: 1480: 1478: 1476: 1474: 1466: 1461: 1454: 1449: 1442: 1437: 1431:, p. 14. 1430: 1425: 1423: 1415: 1410: 1408: 1406: 1404: 1397:, p. 11. 1396: 1391: 1384: 1379: 1373:, p. 34. 1372: 1367: 1361:, p. 15. 1360: 1355: 1348: 1343: 1336: 1331: 1324: 1319: 1317: 1309: 1304: 1302: 1294: 1289: 1287: 1279: 1274: 1268:, p. 17. 1267: 1262: 1256:, p. 53. 1255: 1250: 1244:, p. 70. 1243: 1238: 1222: 1218: 1212: 1210: 1208: 1206: 1204: 1202: 1194: 1189: 1187: 1185: 1177: 1172: 1170: 1163:, p. 14. 1162: 1157: 1150: 1145: 1138: 1133: 1126: 1121: 1115:, p. 13. 1114: 1109: 1102: 1097: 1091:, p. 17. 1090: 1085: 1079:, p. 18. 1078: 1073: 1066: 1061: 1054: 1049: 1047: 1045: 1043: 1035: 1030: 1023: 1018: 1012:, p. 25. 1011: 1006: 999: 994: 979: 975: 969: 962: 957: 953: 943: 940: 939: 930: 926: 925: 916: 913: 908: 904: 901: 897: 893: 892: 891: 888: 885: 883: 878: 876: 870: 868: 867:flute players 863: 858: 856: 850: 843: 840: 835: 826: 823: 819: 817: 812: 810: 809:stationmaster 806: 805: 798: 796: 792: 788: 783: 780: 775: 771: 769: 766: 762: 758: 753: 751: 747: 742: 740: 736: 730: 728: 723: 719: 717: 712: 710: 706: 702: 698: 694: 690: 685: 683: 680:(part of the 677: 672: 668: 664: 660: 657: 652: 646: 644: 639: 637: 633: 629: 624: 621: 617: 614: 610: 605: 601: 599: 595: 591: 586: 584: 579: 577: 572: 570: 565: 563: 559: 555: 551: 550:picture plane 546: 542: 539: 537: 533: 528: 526: 525: 520: 519:Pas-de-Calais 516: 511: 507: 505: 501: 496: 492: 490: 486: 482: 481:Salvador Dalí 477: 473: 471: 467: 466:René Magritte 462: 460: 456: 451: 448: 446: 442: 438: 432: 427: 421: 416: 415:Foire du Midi 411: 407: 405: 401: 397: 393: 389: 385: 380: 377: 375: 371: 367: 363: 355: 351: 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