Relevant bibliographies by topics / Paul Delvaux

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Paul Delvaux'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Paul Delvaux"

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Scott, David. "Les mots dans la peinture de Paul Delvaux." Textyles, no. 17-18 (December 15, 2000): 31–41. http://dx.doi.org/10.4000/textyles.1307.

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BATUR ÇAY, MERAL. "SYMBOLS IN THE PAINTINGS OF SURREALIST PAINTER PAUL DELVAUX." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 3 (July 1, 2021): 922–31. http://dx.doi.org/10.7456/11103100/010.

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Parkinson, Gavin. "The Delvaux Mystery: Painting, the Nouveau Roman, and Art History." Nottingham French Studies 51, no. 3 (December 2012): 298–313. http://dx.doi.org/10.3366/nfs.2012.0029.

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Meant to signal in its parodic title both the causal, deductive conventions of academic art history and those of the detective story, this essay looks at the work of the Belgian artist Paul Delvaux (1897–1994), and discusses the uses to which that œuvre has been put by several of the pioneers of the twentieth-century novel, such as Michel Butor, Alain Robbe-Grillet, Claude Simon, Julio Cortázar, and J.G. Ballard. It goes on to speculate as to why so many French novelists from the 1950s who interrogated specifically narrative form, together with those inspired by their example, responded to Delvaux's work in their writing. Asking whether any gain can be made in art history's knowledge and understanding of art by viewing it back through the fiction or poetry generated by it, the essay suggests that fiction and poetry might inflect academic art history at the level of style, asking what the genre implications of such writing might be for a discipline in which writing and style have had such well-defined boundaries and limitations.
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Ruíz Solórzano, Jaime. "Carlos Hernán García o "Canán": Una imaginación desbordada por los sueños." Paideia Surcolombiana 1, no. 18 (February 1, 2014): 121. http://dx.doi.org/10.25054/01240307.1160.

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Cuando nos hablan de los sueños hechos imágenes a través de las artes visuales, nuestro recuerdo trae a la mente las obras de los artistas europeos y latinoamericanos que han trabajado dentro de la tendencia verista del surrealismo; es decir, aquellas obras que podemos asociar con elementos y seres de nuestro mundo circundante. Tal es el caso de Salvador Dalí, Rene Magritte, Paul Delvaux, Max Ernest, María Izquierdo, Frida Kahlo, Mercedes Varo, Leonora Carrington, Leonor Fini o el pintor huilense Filomeno Hernández.
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LEMAÎTRE, Sophie. "« Un long travail d’échiquier » : enquête sur les brouillons de La Mer est proche." Revue internationale Henry Bauchau. L’écriture à l’écoute, no. 6 (December 30, 2014): 154–70. http://dx.doi.org/10.14428/rihb.v0i6.17433.

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L’article se penche sur les traces de la genèse du recueil La Mer est proche, ensemble de dix poèmes sur des tableaux de Paul Delvaux commandé à Henry Bauchau par René Micha, en vue de les intégrer au film d’Henri Storck sur le peintre belge. La rédaction s’opère entre 1969 et 1972, moment où Henry Bauchau côtoie de près plusieurs artistes et s’adonne lui-même au dessin. L’expérience de l’écriture de commande s’avèrera contraignante et le film, dans lequel les vers ont été éparpillés, perdant leur sens, s’avèrera décevant pour l’auteur.
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Jacobs, Steven. "The Documentary Surreal: Film and Painting in Luciano Emmer’s La Leggenda di Sant’Orsola (1948) and Henri Storck’s Le Monde de Paul Delvaux (1946)." Foundations of Science 23, no. 2 (December 23, 2016): 207–15. http://dx.doi.org/10.1007/s10699-016-9514-7.

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Scott, David. "Surrealist academicism Paul Delvaux's Éloge de la mélancolie." French Cultural Studies 2, no. 4 (February 1991): 51–69. http://dx.doi.org/10.1177/095715589100200404.

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Witte, Els. "Signalement van: Een Brusselse luis in de Vlaamse pels. Over de iris en de leeuw / Paul Delva." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 73, no. 3 (September 30, 2014): 276. http://dx.doi.org/10.21825/wt.v73i3.12156.

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Garcés García, María Pilar. "Edouard Mesens, a Belgian forefather of the surreal movement in London 1936." Thélème. Revista Complutense de Estudios Franceses 34, no. 1 (June 5, 2019). http://dx.doi.org/10.5209/thel.61063.

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The article presents the birth and the origins of English surrealism. Hardly studied from its beginnings, its incipient manifestations began with the exhibitions and manifestations organized in London by the Belgian gallerist and writer Édouard Mesens, acquiring afterwards, insular and specific connotations through the work of surrealist English and Welsh artists and writers in the interwar period. Roland Penrose, Eileen Agar, Paul Nash, David Gascoyne, Humphrey Jennings, among others, consider that Paris is the cradle of the highest and most revolutionary manifestations of art in all its forms in that period of tense peace. After an accidental encounter in Paris, Roland Penrose and Édouard Mesens decide to introduce the Surrealist movement in England in 1936. The personal relations of Édouard Mesens with André Breton, Paul Éluard and Roland Penrose appointed Mesens representative of the English surrealist movement as Director of the London Gallery and editor of the London Bulletin, the official publication of surrealism in London. Besides, through different exhibitions, Édouard Mesens introduces the work of René Magritte and Paul Delvaux in the capital. At the same time, Mesens will take active part in the creation and development of the English surrealist movement and in 1944, he signed, together with J-B Brunius, the manifest “Idolatry and Confusion”. In 1947 the first declaration of the Surrealist Group in England appeared together with the first publications among which we can mention Message from Nowere, Fulcrum, Free Unions Libres or Surrealist transformation. The present article develops the relationship of all these literary and artistic manifestations and explains the connections between Belgian and English surrealism. It also analyzes and presents the work of the main artists, writers, and ideologues of English Surrealism. This constitutes the main and original contribution of this research paper.
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Балонова, Марина. "Античный Миф в Живописи Поля Дельво (Ancient Greek and Roman Myths in Paul Delvaux's Paintings)." SSRN Electronic Journal, 2016. http://dx.doi.org/10.2139/ssrn.2769495.

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Dissertations / Theses on the topic "Paul Delvaux"

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Beaumann, Guy. "Paul Belvaux ou l'incompatibilité des sexes : (lecture d'un art)." Besançon, 1993. http://www.theses.fr/1993BESA1008.

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L'étude démontre que la peinture de Paul Delvaux s'articule autour de l'antagonisme des sexes entre la féminité sensuelle liée au naturel primitif et la masculinité intellectuelle rattachée au modernisme technologique, la femme cherchant vainement à débaucher l'homme aux plaisirs physiques alors que celui-ci ne témoigne d'intérêt que pour le domaine mental des sciences. Partant l'introduction du peintre lui-même comme partie intégrante du masculin marque un certain refoulement sexuel auquel l'œuvre sert d'exutoire à travers la représentation obsédée du corps féminin.
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Park, Soyoung. "Rozbor obrazů objevujících se v díle Noč ní motýl." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156011.

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Abstract "Nocturnal Butterfly" is short animation film which is directed by Raoul Servais. This animation is Servais's homage to Belgian surrealist Paul Delvaux. This paper concerns comparative analysis between the images of Nocturnal Butterfly about male and female, butterfly, mirror, railway station, automaton, last freeze-frame, and motifs of Delvaux's painting. At first, my research at overall characteristic of surrealism would show that Delvaux's painting shares such characteristic. André Breton who is a key man in surrealism believed that automatism is driving force for artistic creation, so he thought we must look into the unconscious and world of dream to create new aesthetic reality and to comprehend reality just as it is without prejudice caused by reason and rationality. Especially he tried for liberation of the consciousness through automatic drawing, collage and depaysement in surrealistic painting. Delvaux with Magritte used depaysement to give psychological shock to appreciator, so he used mythology as motifs to draw inner landscape unfamiliarly and mysteriously. And though idealized images of women he expressed own desire. After, I would review other works of Raoul Servais. He has expressed own view in various ways by using new approach for each work. Through criticism at human civilization and mythicism of desire he has utopian attitude even though he has criticized absurdity of actuality circumstance. Nocturnal Butterfly has atmosphere fascinating and mysterious but unfamiliar than clear messages. It seems that the atmosphere of the work considerably results from images taken from Delvaux's painting. And Nocturnal Butterfly shows ambiguous and unfamiliar feeling of surrealism using shooting mode of live action films and photographic images. Next, I would review images in Nocturnal Butterfly. Delvaux expressed idealized images of male and female as his central figure motives, but Raoul Servais expressed images of male and female as earthly images in Nocturnal Butterfly. Woman with movement in Nocturnal Butterfly is waiting someone and reacting to eyes from man rather than she is idealized being. But She is also mysterious being. She is dancing with another self appeared from mirror as her double, in fantastic and fascinating time. But when train in reality arrives and a man appears, the time is over. The man wearing a hat in Nocturnal Butterfly is like Delvaux?s self-image mixed with scientist and gentleman. The man watches the object of desire, and possesses the object. Delvaux?s painting as last scene in Nocturnal Butterfly seems to be index of photograph image displayed from both surrealism and movie. So it informs that this animation is not over but continues to a piece of reality. The result of analysis of the images in Nocturnal Butterfly shows that Nocturnal Butterfly is the most fascinating and mysterious new animation with weakened completion of narration unlike other works of Raoul Servais.
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Dâmaso, Cátia Patrícia Fernandes. "Paul Delvaux nos museus da Bélgica : uma abordagem do discurso expositivo da arte contemporânea." Master's thesis, 2017. http://hdl.handle.net/10400.3/4638.

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Dissertação de Mestrado, Património, Museologia e Desenvolvimento, 2 de outubro de 2017, Universidade dos Açores.
A presente dissertação tem como foco a obra do pintor Paul Delvaux e o discurso expositivo da sua obra nos museus da Bélgica e países limítrofes, de 1927 a 2017. Estudaram-se e apresentaram-se os vários estilos artísticos reflectidos na sua obra e a maneira como o seu percurso pessoal interferiu nela. Fez-se um levantamento do historial de exposições do artista, atentando na duração das mesmas, nas obras mais frequentemente destacadas, nos tipos de discursos levados a cabo pelas instituições e nas estratégias de que se serviram (e servem) para expor o artista, bem como no modo como estas foram projetadas pela imprensa e acolhidas pelo público. A metodologia utilizada para a escrita desta dissertação conta com a consulta dos catálogos com listagens completas das obras do autor e recensões e textos críticos das exposições, leitura de bibliografia geral sobre o artista, pesquisa em jornais e revistas de arte que referem o artista, bem como a visita a exposições e entrevistas aos responsáveis das instituições que as acolhem. A análise permitiu observar que Delvaux possui um estilo artístico eclético, tendo sofrido influências do expressionismo, realismo/naturalismo, impressionismo e surrealismo. A investigação possibilitou, também, perceber que as instituições se serviram de estratégias recorrentes para expor o pintor, centrando-se em temas-chave como a mulher, os esqueletos, as estações de comboio e os comboios e as paisagens da sua terra natal. Conclui-se que a sua obra nem sempre foi bem aceite pelo público e que só após, aproximadamente, quarenta anos de trabalho, o artista começa a receber um reconhecimento a nível nacional e internacional. A novidade da investigação que foi levada a cabo prende-se com a lacuna na bibliografia versando sobre o historial de exposições do autor e uma análise crítica dessas mesmas exposições.
ABSTRACT: This thesis focuses on the work of painter Paul Delvaux and the exhibitive discourse of his work in the museums of Belgium and neighbouring countries, from 1927 to 2017. The several artistic styles reflected in his creations and the way his personal development influenced them were studied and exposed. A compilation of the artist’s exhibitions was made, paying particular attention to their duration, to the most frequently highlighted art pieces, to the types of speeches and strategies art institutions chose (and choose) to present the artist, as well as to the way they were seen by the press and the public. The methodology used in the writing of this thesis was based on the search of catalogues with full listings of the artist’s works, exhibitions reviews, readings of general bibliography regarding the artist, examination of newspapers and magazines mentioning him, as well as visits to patented exhibitions and interviews with leaders of institutions that host them. This analysis led us to observe that Delvaux possesses an eclectic artistic style, having been influenced by Expressionism, Realism/Naturalism, Impressionism and Surrealism. The investigation also allowed us to appreciate how institutions used recurrent strategies to display the painter, centering on key topics like: the Woman, squelettons, train stations and trains, and landscapes from the artist’s homeland. We conclude that Delvaux’s work was not always fully accepted by the public and that it is only after approximately fourty years of work that the artist started obtaining recognition on a national and international level. This investigation’s originality stems from the lack of prior in-depth scrutiny in the overview of the artist’s exhibitions and a subsequent critical analysis of these same exhibitions.
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Wang, Sih-Cing, and 王思晴. "Expression of the Unconscious and Dream Motif in Works by Salvador Dali and Paul Delvaux." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/27399677234212370596.

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碩士
國立新竹教育大學
藝術教育與創作碩士班
100
Between World War I and II, Surrealism appeared and inherited the main spirit of Dadaism, with it’s objection of war, normal aesthetic standand and social ethics. Therefore, Surrealists tends to do social critique and re-construction and their effort were shown in their works. Surrealists are quite interested in dreams and they believe that dream is one way to express ideas unconsciously. Through dream interpretation, they could be inspired and took it as a way to understand themselves. Using theories of Freudian psychoanalysis and Jungian analysis, this study analyzes the meaning of dream motif that hidden in the paintings of Salvador Dali (1904－1989) and Paul Delvaux (1897－1994). Three areas are explored. The first part analyzed how Dali presented dream motif in his works, focusing on the way he expressed his archetype and emotion, and his relationship with mother through expression of his unconsciousness. The relations between his childhood and his sexual perversion as indicated in his works are also discussed. The second part of the study analyses the content of emotion and archetype as expressed unconsciously in Delvaux’s works. His relation with women and sexuality disclosed in his works are also treated. In the third part, the similarities and differences between the ways Dali and Delvaux interpreted dream motif and their unconscious representations in respective works were discussed further to make some clarifications and satisfy my research purpose. Coincidentally, the images of Anima are sacred in both Dali’s and Delvaux’s works. This shows that they both suppressed their own desires, especially about sexuality, and this was shown in their works that related to their respective narcissism, the Oedipus complex etc. They used their works as a way for self-expression and created their dreamlike worlds. They believed that this is the essential way to truly express themselves, and help the public to voice their own desires.The living attitudes and favorite themes of Dali and Delvaux are also different and shown through their works. However, both of them used a “realistic” approach to interpret scenes from dream. We could feel the passion within their works, and oscillate between our conscious and unconscious sphere so as to enjoy the pleasure from dreams. We could also confirm indirectly the function of dreams, as a source of creativity, which verifies Freudian and Jungian theories.
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Chiu, I.-Chung, and 邱奕中. "A Study of Surrealist Qualities in Paul Delvaux’s Paintings." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/94058661280267661263.

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碩士
國立臺北藝術大學
美術學系碩士班美術史組
103
In the study, the author discusses the process in which Paul Delvaux (1879-1994) transferred the traditional vocabularies of classical history painting into non-logical compositions. Various pictorial elements in Delvaux’s paintings will be examined which include pictorial spaces, architectures, figures, objects and subjects. And by analyzing Delvaux’s motivations and mental status as an artist, the results are expected to link to the questions of emotions, life and death, sense and sensibility where mankind had never ceased to ask. After getting in touch with Surrealism, Delvaux had changed his artist objects in his works which were no longer focus on the reproducing of the external world, on the other hand, the most inner emotion in the spiritual world. Nevertheless, the representational way of expression in painting was still adopted by Delvaux in order to create dreamlike scenes. In these scenes, figures were met under the moonlight, in a temple, on the street, in a public square or in a room without any furniture which became different symbols and created a poetic atmosphere. Among those are the young women who are the most representative symbol that could reflect the ideal figure in Delvaux’s paintings and life. All these forms and its poetic atmosphere in Delvaux’s paintings create an inharmonious feeling whether in visual or metal aspects to the spectators. Delvaux’s paintings are windows for us to understand his complex world. By presenting recognizable visual elements and making those elements incomprehensible, he created the paintings of poetry which provide a spectacle that beyond time and an understanding of reality. Last but not least, Delvaux had also changed the traditional way of looking which gave us alternative paths of understanding the essence of a painting.
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Books on the topic "Paul Delvaux"

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Delvaux, Paul. Paul Delvaux. New York]: Blain Di Donna, 2013.

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Paul Delvaux. Barcelona: Ediciones Poligrafia, 1990.

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Paul Delvaux. New York: Rizzoli, 1990.

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Delvaux, Paul. Paul Delvaux. München: Hirmer, 1989.

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Delvaux, Paul. Paul Delvaux. London: Academy Editions, 1991.

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Paul, Delvaux, and Ollinger-Zinque Gisèle, eds. Paul Delvaux. Firenze: ArtificioSkira, 1998.

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Thomas, Kellein, Egging Björn, and Kunsthalle Bielefeld, eds. Paul Delvaux. Bielefeld: Kerber, 2006.

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Delvaux, Paul. Paul Delvaux. [S.l.]: Le Asahi Shimbun, 1989.

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Delvaux, Paul. Paul Delvaux, 1897-1994. [Belgium?]: Blondé Artprinting International, 1997.

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Delvaux, Paul. Paul Delvaux. Rene Magritte. New York: Elkon Gallery, 1988.

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Book chapters on the topic "Paul Delvaux"

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Jacobs, Steven. "Henri Storck’s Le Monde De Paul Delvaux and Pygmalionist Cinema." In Documenting The Visual Arts, 23–33. London ; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315123301-2.

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Farasse, Gérard, and Philippe Lemaire. "2. Paul Delvaux, cristallographe." In Lettres de château, 28–35. Presses universitaires du Septentrion, 2008. http://dx.doi.org/10.4000/books.septentrion.78858.

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"Die still gestellte Weiblichkeit im Werk Paul Delvaux’." In Körper in Bewegung, 163–86. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839410998-010.

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Feleman, Susan. "The Mystery … The Blood … The Age of Gold: Sculpture in Surrealist and Surreal Cinema." In Screening Statues, 46–64. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474410892.003.0003.

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Figurative sculpture had a special status within the visual universe of Surrealism. Iconographically, statues are a prominent element in the dreamlike spaces of Giorgio de Chirico’s paintings of 1913–14 that so enchanted André Breton and friends after the end of the war and became among the first and most paradigmatic images associated with the movement. Statues appear in many other Surrealist paintings, including those of Salvador Dalí, where, although they might stand on plinths or pedestals, they equivocate between the appearance of inanimate and living bodies, through the impression of liquidity and putrefaction that infects all his visions. In Surrealist collages, too, bodies are often rendered equivocally sculptural through fragmentation, for instance in photographic or printed images of the female nude rendered headless or otherwise dismembered to resemble antiques, in the works of Max Ernst and others. René Magritte, Paul Delvaux, Man Ray, Pierre Boucher, Picasso, and Jean Cocteau, among others associated with Surrealism, also incorporated statuary into their paintings, drawings, and photographs.
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