保罗·德尔沃（DELVAUX)1897年生于比利时的昂台特。这位画家曾长期探索自己的艺术道路。直到1935年前后，他一直徘徊于新印象派和表现派之间。在该时期中，乔治·德·基里柯和和内·马格利特的双重影响在使他明白自己处境的同时，还促使他加入了超现实主义派。从那以后，他的目的不再是重现外部世界，为它录下真实的形象，而是发掘自身生活深处的亲切、秘密方面。客观现实只有在作为他梦幻的环境时，才会引起他的兴趣。就是在梦幻之中，产生了地点和人物的奇特相遇。无论是它们之间的关系，还是它们的相互对比，都成为往往郁郁不乐的诗歌。庙宇，月亮城，马路或公共广场，无家具的房间，在这些环境中，我们看到同一类型的妇女。她们年青漂亮，时而裸体，时而穿着镶有花边和树叶的衣服，或者大褶长裙。这种人物形象时时萦绕在画家的心头。
Delvaux出生在Antheit在比利时的省份列日的儿子,一名律师。年轻的Delvaux音乐课程,研究希腊和拉丁和吸收的小说儒勒·凡尔纳的诗歌荷马。他所有的工作是受到这些读数,从他最早的图纸显示神话场景。他就读于Academie皇家美术在布鲁塞尔建筑部门,尽管由于他父母的反对他的野心成为一名画家。然而,他追求的目标,参加了绘画班常数Montald和琼Delville。画家Frans Courtens和阿尔弗雷德Bastien还鼓励Delvaux,从这一时期的作品主要是自然的风景。他完成了一些80幅画作在1920年至1925年之间,这是他的第一个个展。
Delvaux画的1920年代末和1930年代初,在景观功能裸体,被这样的佛兰德的强烈影响表现主义作为常数Permeke和古斯塔夫·迪斯美特。改变风格大约1933反映的影响形而上学的艺术的乔治•德•基里科在1926年或1927年第一次遇到。在1930年代早期Delvaux发现更多的灵感在访问布鲁塞尔公平,在那里Spitzner博物馆医学博物馆的好奇心,保持骨骼和机械的展台金星图是显示在一个窗口与红色天鹅绒窗帘。这景象迷住了Delvaux,为他提供图案会出现在他的后续工作。在1930年代中期他也开始采取一些他的比利时的图案雷内·马格利特,以及画家的面无表情否则普通并列的风格呈现在最意想不到的对象。
基Delvaux承认他的影响,他说,“我意识到什么是可能的,与他必须发达的气候,寂静的街道上的气候与影子的人看不见,我从来没有问自己如果是超现实主义。”[5]虽然Delvaux关联与比利时超现实主义集团一段时间,他不认为自己在学术意义上的“超现实主义”。作为艺术家的Marc Rombaut写了:“Delvaux……始终保持一种亲密的特权与他童年的关系,这是他的作品的潜在动机,总是设法表面。这个“童年”,现有在他,使他的诗歌艺术维度”。
通常特性的绘画Delvaux出名的裸体女性凝视好像催眠,神秘地手势,有时躺地在火车站或古典建筑中漫游。有时他们都伴随着骨骼,戴着圆顶礼帽的男士,或者困惑科学家从儒勒·凡尔纳的故事。Delvaux将重复的变化对这些主题的寿命长,虽然有些离职可以指出。其中有1945 - 47岁,他的画中呈现一个扁平的风格扭曲和强迫的角度来看效果和一系列的刑罚和骨架,制定沉积场景画在1950年代。
在1950年代末,他产生了一个数量的夜景,火车是观察到一个小女孩从后面看到。这些成分包含还没有公开的超现实主义的,月光下的细节是幻觉的清晰效果。火车一直Delvaux一个特别感兴趣的话题,他从来没有忘记他觉得一个小孩一看到第一个电动有轨电车在布鲁塞尔。
1959年他执行宫的壁画在布鲁塞尔会议,几个大型装饰委员会Delvaux承诺之一。他被任命为主管Academie皇家美术在1965年。1982年,保罗Delvaux博物馆在Saint-Idesbald。Delvaux死于Veurne在1994年。
Delvaux was born in Antheit in the Belgian province of Liège, the son of a lawyer. The young Delvaux took music lessons, studied Greek and Latin, and absorbed the fiction of Jules Verne and the poetry of Homer. All of his work was to be influenced by these readings, starting with his earliest drawings showing mythological scenes. He studied at the Académie Royale des Beaux-Arts in Brussels, albeit in the architecture department owing to his parents' disapproval of his ambition to be a painter. Nevertheless, he pursued his goal, attending painting classes taught by Constant Montald and Jean Delville. The painters Frans Courtens and Alfred Bastien also encouraged Delvaux, whose works from this period were primarily naturalistic landscapes. He completed some 80 paintings between 1920 and 1925, which was the year of his first solo exhibition.
Delvaux's paintings of the late 1920s and early 1930s, which feature nudes in landscapes, are strongly influenced by such Flemish Expressionists as Constant Permeke and Gustave De Smet. A change of style around 1933 reflects the influence of themetaphysical art of Giorgio de Chirico, which he had first encountered in 1926 or 1927.[2] In the early 1930s Delvaux found further inspiration in visits to the Brussels Fair, where the Spitzner Museum, a museum of medical curiosities, maintained a booth in which skeletons and a mechanical Venus figure were displayed in a window with red velvet curtains. This spectacle captivated Delvaux, supplying him with motifs that would appear throughout his subsequent work.[3] In the mid-1930s he also began to adopt some of the motifs of his fellow Belgian René Magritte,[4] as well as that painter's deadpan style in rendering the most unexpected juxtapositions of otherwise ordinary objects.
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."[5] 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 underlying motivation for his work and always manages to surface there. This 'childhood,' existing within him, led him to the poetic dimension in art."
The paintings Delvaux became famous for usually feature numbers of nude women who stare as if hypnotized, gesturing mysteriously, sometimes reclining incongruously in a train station or wandering through classical buildings. Sometimes they are accompanied by skeletons, men in bowler hats, or puzzled scientists drawn from the stories of Jules Verne. Delvaux would repeat variations on these themes for the rest of his long life, although some departures can be noted. Among them are his paintings of 1945-47, rendered in a flattened style with distorted and forced perspective effects, and the series of crucifixions and deposition scenes enacted by skeletons, painted in the 1950s.
In the late 1950s he produced a number of night scenes in which trains are observed by a little girl seen from behind. These compositions contain nothing overtly surrealistic, yet the clarity of moonlit detail is hallucinatory in 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.
In 1959 he executed a mural at the Palais des Congrès in Brussels, one of several large scale decorative commissions Delvaux undertook. He was named director of the Académie Royale des Beaux-Arts in 1965. In 1982 the Paul Delvaux Museumopened in Saint-Idesbald. Delvaux died in Veurne in 1994.
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