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拍品专文
The Fondation Paul Delvaux has confirmed the authenticity of this work.
I believe that drawing is something [extremely] important, and that one must first learn how to draw and be able to draw before painting. This is what I would recommend to the young painter. -Paul Delvaux
"The number of drawings that Delvaux composed is overwhelming. Not only does it emphasize how important the technique was for the artist, but it also attests to how methodically he planned and constructed his compositions. The artist himself distinguishes between two types of drawings: 1) preparatory drawings and sketches and 2) spontaneous drawings. These drawings should rightfully be viewed as works of art in and of themselves" (Z. Barthelman and J. Van Deun, "The Creative Process: From Drawings to a World of His Own," op. cit., p. 33).
The present work has been classified as belonging to the second category described by Barthelman and Van Deun. On this subject, and in reference to the present work in particular, they continue, "These drawings are often larger than the first type, vibrantly colorful, and meticulously refined, as in a work like Jeune femme devant son miroir from 1934, or in the erotic Les deux amies from 1943" (ibid., p. 39).
I believe that drawing is something [extremely] important, and that one must first learn how to draw and be able to draw before painting. This is what I would recommend to the young painter. -Paul Delvaux
"The number of drawings that Delvaux composed is overwhelming. Not only does it emphasize how important the technique was for the artist, but it also attests to how methodically he planned and constructed his compositions. The artist himself distinguishes between two types of drawings: 1) preparatory drawings and sketches and 2) spontaneous drawings. These drawings should rightfully be viewed as works of art in and of themselves" (Z. Barthelman and J. Van Deun, "The Creative Process: From Drawings to a World of His Own," op. cit., p. 33).
The present work has been classified as belonging to the second category described by Barthelman and Van Deun. On this subject, and in reference to the present work in particular, they continue, "These drawings are often larger than the first type, vibrantly colorful, and meticulously refined, as in a work like Jeune femme devant son miroir from 1934, or in the erotic Les deux amies from 1943" (ibid., p. 39).