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The career of Paul Delvaux evolved in the shadow of Nazi Germany. It's no surprise, however, that his work is noted for conveying a unique sense of dread and disquiet. Surprisingly, such worry does not manifest itself in blatantly political topics. Delvaux was more interested in mankind and the secret depths of the mind. In 1916, he began his artistic training by studying architecture, but quickly switched to painting. While he was initially influenced by European Expressionism, his mature style was influenced by an entirely different source: the Surrealists. Although he was not an official Surrealist, he shared the group's fascination in the depths of the mind. Delvaux, like his contemporaries Giorgio de Chirico and René Magritte, employed strange subject matter rather than abstraction to express himself. In doing so, he crafted uncomfortable moments meant to shock the viewer emotionally.
Delvaux's architectural backgrounds were more than just background; they were some of his most intriguing topics. This comes as no surprise given his early creative background in architecture. The Classical structures, city squares, and train stations that he used to stage his mystery scenes were critical to generating his different moods.
Delvaux's work is distinguished by naked women. They reside midway between the realms of statuary and sex items, and their ambiguity is one of the paintings' most fascinating and perplexing qualities.
Delvaux's paintings depict strange situations that combine things that do not make sense. His incredibly lifelike painting approach adds to the unsettling atmosphere of his subjects. It's unsettling to see such strange things depicted within such believable environments - without any form of abstraction and with a strong light that leaves nothing in murky shade.
