让德尔维尔（1867年1月19日，鲁汶 - 1953年1月19日，林，布鲁塞尔）是比利时的 象征画家，作家，诗人，辩论家，教师，通神论者。德尔维尔是艺术比利时理想主义者运动19世纪90年代期间，领先指数。他认为，在他的一生中，认为艺术应该是一个更高的精神真理的表达，它应该是基于理想的原则，或精神美。他他积极的职业生涯中执行的画作大量从1887年第二次世界大战结束时（现在许多人丢失或毁坏）表达他的理想主义美感。德尔维尔是在训练的法兰西艺术院在布鲁塞尔和被证明是一个非常早熟的学生，赢得了最有名望的竞争奖项在该学院同时还是一个年轻的学生。后来，他获得了比利时罗马大奖这让他前往罗马和佛罗伦萨，学习第一手的文艺复兴时期的艺术家的作品。期间，他在意大利的时候，他创造了他著名的代表作欧莱雅巴黎高等德柏拉图（1898年），它代表他的，他在他的著作在19世纪90年代推动了唯心主义美学，诗和展览的社会，特别是整理得一目了然沙龙d'Art艺术Idéaliste。

特点是，德尔维尔的画是基于理念-，表达了当代密封和深奥的传统哲学的衍生理想。在他的职业生涯的开始，他的深奥的观点主要是受工作的影响利维，爱德华Schuré，JoséphinPéladan和圣-伊夫·德Alveydre，后来由神智的著作海伦娜Blavatsky和安妮贝费特。他的画的主要基本主题，尤其是在他早期的职业生涯，先后与启动和灵魂的内心生活朝着更高的精神宗旨，变身做。特别是他们处理的主题象征着理想爱情，死亡和变身，以及同修表示（“光带来者'），以及材料和形而上学维度之间的关系。他的绘画和成品图纸通过取材于大自然精确观测的形式阐述一个高度敏感的富有远见的想象力的一种表现。他还对色彩和构图辉煌的礼物，在人体解剖学的表现出色。他的许多主要画，比如他的莱斯Trésors德Sathan（1895），L'Homme的主公医院（1903年）和莱斯埃姆斯errantes（1942），代表了几十个复杂的安排和交织绘有非常详细的解剖准确的数字。他是一个惊人的熟练的制图员和画家能够产生一个规模宏大的极富表现力的作品，其中有许多可以在布鲁塞尔的公共建筑，包括可见的司法宫。

德尔维尔的艺术风格深受古典传统的影响。他在学院教古典训练的价值奋斗终生的人。他认为，收购，作为本次培训的结果纪律本身并不是目的，而是获得了坚实的绘画技巧，让自由艺术家发展他们的个人艺术风格，又抑制其个人创作个性的重要手段。德尔维尔是一位受人尊敬的学术美术老师。他受雇在格拉斯哥艺术学院 1900至06年和教授在绘画的法兰西艺术院在布鲁塞尔此后直到1937年。

他也是一位多产和才华的作家。他生前，以及四本诗集，其中包括他在出版的期刊文章的一个非常了不起的数字勒战栗杜狮身人面像（1897）和莱斯SplendeursMéconnues（1922） 。他撰写了十几书籍和有关艺术和深奥的学科小册子。其中最重要的他出版的书包括了他神秘的作品，对话我们之间（1895）和乐基督Reviendra（1913），以及他对艺术的理想主义者开创性的工作，香格里拉团DE L'艺术（1900年）。他还创建并促进他的唯心主义美学，包括19世纪90年代期间编辑许多当代杂志和报纸L'ARTIdéaliste和拉卢米埃。

德尔维尔是一个充满活力的艺术企业家，创建几个有影响力的艺术展览协会，包括倒L'ART和沙龙DE L'艺术Idéaliste在19世纪90年代以后，在法国兴业DE L'艺术纪念在1920年这是负责装修公共建筑，包括在的半圆形马赛克Cinquantenaire公园在布鲁塞尔举行。他还创立了非常成功的合作artistique，这在当时提供负担得起的艺术材料的艺术家。

Jean Delville (19 January 1867, Leuven – 19 January 1953, Forest, Brussels) was a Belgian symbolistpainter, author, poet, polemicist, teacher, and Theosophist. Delville was the leading exponent of the Belgian Idealist movement in art during the 1890s. He held, throughout his life, the belief that art should be the expression of a higher spiritual truth and that it should be based on the principle of Ideal, or spiritual Beauty. He executed a great number of paintings during his active career from 1887 to the end of the second World War (many now lost or destroyed) expressing his Idealist aesthetic. Delville was trained at the Académie des Beaux-arts in Brussels and proved to be a highly precocious student, winning most of the prestigious competition prizes at the Academy while still a young student. He later won the Belgian Prix de Rome which allowed him to travel to Rome and Florence and study at first hand the works of the artists of the Renaissance. During his time in Italy he created his celebrated masterpiece L'Ecole de Platon (1898), which stands as a visual summary of his Idealist aesthetic which he promoted during the 1890s in his writings, poetry and exhibitions societies, notably the Salons d'Art Idéaliste.

Characteristically, Delville's paintings are idea-based, expressing philosophical ideals derived from contemporary hermetic and esoteric traditions. At the start of his career, his esoteric perspective was mostly influenced by the work of Eliphas Levi, Edouard Schuré, Joséphin Péladan and Saint-Yves d'Alveydre, and later by the Theosophical writings of Helena Blavatsky and Annie Besant. The main underlying theme of his paintings, especially during his early career, has to do with initiation and the transfiguration of the inner life of the soul towards a higher spiritual purpose. Specifically they deal with themes symbolising Ideal love, death and transfiguration as well as representations of Initiates ('light bringers'), and the relationship between the material and metaphysical dimensions. His paintings and finished drawings are an expression of a highly sensitive visionary imagination articulated through precisely observed forms drawn from nature. He also had a brilliant gift for colour and composition and excelled in the representation of human anatomy. Many of his major paintings, such as his Les Trésors de Sathan (1895), l'Homme-Dieu (1903) and Les Ames errantes (1942), represent dozens of figures intertwined in complex arrangements and painted with highly detailed anatomical accuracy. He was an astonishingly skilled draughtsman and painter capable of producing highly expressive works on a grand scale, many of which can be seen in public buildings in Brussels, including the Palais de Justice.

Delville's artistic style is strongly influenced by the Classical tradition. He was a lifelong advocate of the value of the Classical training taught in the Academies. He believed that the discipline acquired as a result of this training was not an end in itself, but rather a valuable means of acquiring a solid drawing and painting technique to allow artists freely to develop their personal artistic style, without inhibiting their individual creative personality. Delville was a respected Academic art teacher. He was employed at the Glasgow School of Art from 1900 to 1906 and as Professor of drawing at the Académie des Beaux-arts in Brussels thereafter until 1937.

He was also a prolific and talented author. He published a very great number of journal articles during his lifetime as well as four volumes of poetry, including his Le Frisson du Sphinx (1897) andLes Splendeurs Méconnues (1922). He authored more than a dozen books and pamphlets relating to art and esoteric subjects. The most important of his published books include his esoteric works, Dialogue entre Nous (1895) and Le Christ Reviendra (1913) as well as his seminal work on Idealist art, La Mission de l'Art (1900). He also created and edited several contemporary journals and newspapers during the 1890s promoting his Idealist aesthetic including L'Art Idéaliste and La Lumière.

Delville was an energetic artistic entrepreneur, creating several influential artistic exhibition societies, including Pour l'Art and the Salons de l'Art Idéaliste in the 1890s and later, the Société de l'Art Monumental in the 1920s which was responsible for the decoration of public buildings including the mosaics in the hemicycle of the Cinquantenaire in Brussels. He also founded the very successful Coopérative artistique, which provided affordable art materials for artists at the time.