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Our reproductions of Paul Delvaux's paintings are handmade and made with oil paint on a quality canvas. They are used for interior decoration and will embellish your living or working place.
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Paul Delvaux's career developed in the shadow of Nazi Germany. It should come as no surprise then that his work is known for a distinct sense of anxiety and unease.
Surprisingly, this anxiety is not expressed in overtly political subjects. Delvaux was more interested in the exploration of humanity and the hidden corners of the subconscious.
He began his artistic training by studying architecture in 1916, but quickly turned to painting. While he was initially inspired by European expressionism, his mature style finds its origin in the Surrealism. Without being an official member of the Surrealists, he shares the group's interest in probing the depths of the mind. Like his contemporaries Giorgio de Chirico et Rene Magritte, Delvaux uses strange rather than abstract subjects as a means of expression. In doing so, he created uncomfortable scenes designed to emotionally shock the viewer.
The architectural frames of Delvaux's paintings were much more than a background; in fact, they were some of his most engaging subjects. This is not surprising given his early artistic training in architecture. Classical buildings, town squares and train stations that serve as the backdrop for his mysterious stagings were essential in conveying his message.
Naked women are characteristic of Delvaux's work. They exist somewhere between the statuary realm and that of sex objects, and their very ambiguity is one of the most striking and puzzling features of Delvaux's paintings.
Delvaux's paintings represent bizarre scenes that bring together elements that are meaningless.
His very naturalistic painting technique aggravates the feeling of unease in his scenes. That such peculiar naked bodies are represented in such believable spaces - without any abstraction of form and with a bright light that leaves nothing in shadow, makes the atmosphere disturbing.
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