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Paul Delvaux

Belgian Painter

Paul Delvaux Photo
Movement: Surrealism

Born: September 23, 1897 - Antheit, Belgium

Died: July 20, 1994 - Veurne, Belgium

"I would like to create a fabulous painting in which I would live, in which I could live."

Paul Delvaux Signature

Summary of Paul Delvaux

Paul Delvaux's career developed in the shadow of Nazi Germany. It should not come as a surprise then, that his work is known for a distinct sense of anxiety and unease. Surprisingly, that anxiety is not expressed in overtly political subjects. Delvaux was instead interested in exploring humanity and the hidden recesses of the subconscious. He began his artistic training studying architecture in 1916, but soon shifted his focus to painting. While he initially found inspiration in European Expressionism, his mature style was inspired by an altogether different source: The Surrealists. Although he was not an official member of the Surrealists, he shared the group's interest in plumbing the depths of the mind. Like his contemporaries Giorgio de Chirico and René Magritte, Delvaux used bizarre subject matter rather than abstraction as a means of expressiveness. In so doing, he created uncomfortable scenes that were designed to emotionally shock the viewer.

Key Ideas

The architectural settings of Delvaux's paintings were much more than background; in fact, they were some of his most engaging subjects. This is not surprising given that his earliest artistic training was in architecture. The Classical buildings, city squares, and train stations that staged his mysterious scenes were essential to achieving his distinct moods.
Nude women are a hallmark of Delvaux's work. They exist somewhere between the realm of statuary and of sex objects, and their very ambiguity is one of the most arresting and confounding features of Delvaux's paintings.
Delvaux's paintings depict bizarre scenes that bring together elements that don't make sense. His highly naturalistic painting technique compounds the uneasy feeling of his scenes. That such peculiar things are depicted within such believable spaces - without any abstraction of forms and with a bright light that leaves nothing in murky shadow - is disquieting.
Paul Delvaux Photo

Delvaux was born into the new technological age, one of imagination and invention. He was fascinated by trains and trams, but his overriding passion was for Jules Verne's Journey to the Center of the Earth (1864), which he loved because of the fantastical worlds it created and its haunting illustrations by Édouard Riou. As the son of a lawyer, Delvaux was expected to follow in his father's footsteps, and so he embarked on a classical education. His imagination was fueled by the myths of Ancient Greece, most notably the story of Odysseus. He recalled a childhood fear of a skeleton that was displayed in his school music room. The skeleton's leering grin haunted his nightmares and served as fodder for his active imagination. All of these childhood influences left a lasting mark on his memory; he once explained that "youthful impressions, fixed once and for all in the mind, influence you all your life."

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