female-nude, furniture-and-decoration, mirrors
The Great Sirens, P.Delvaux 1947
The Great Sirens, P.Delvaux 1947画中女郎袒露或半裸着鲜嫩的身体，下体和乳房芳香馥郁，她却似毫不所知，月光下她来来去去，一次次与另一个自己相遇，那是她的过去，现在或未来。她 看见的自己，一如倒影，也渐渐消逝，宛若回声。她眼神呆滞，手势僵硬，面无表情，沉默中她自由自在，偶尔有些专注，马上又心不在焉。她肯定有些顾影自怜， 本是梦中人，梦中还有梦。注视着人的人，也被人所注视。是夜游，还是仪式？ 画里有深深的欲望，却无比洁净。如亚当和夏娃，日光之下，或者无论满月新月，肉体与光的袒然接触，身体是纯洁的。德尔沃偏爱蓝色的长裙，紫色的领结，植物的花冠，金色的卷发，画中女子面孔体态相似，无疑那是他的女神。常有黑衣道貌岸然的男子，似乎在偷窥。德尔沃的画最接近于诗，那是诗与梦的结合。并且那不是一张静止的画，从中可以看到画中人走动的轨迹，于是镜头也似乎跟随着运动，观者观画的过程，也接近于梦游的过程。
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 the metaphysical art of Giorgio de Chirico, which he had first encountered in 1926 or 1927. 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
. In the mid-1930s he also began to adopt some of the motifs of his fellow Belgian René Magritte
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."
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 Museum opened in Saint-Idesbald. Delvaux died in Veurne in 1994.