Tony Zaza reviews the recent exhibition Paul Delvaux at Blain|DiDonna, New York.
Zaza notes" "One might consider that [Delvaux's] obsession with women was a kind of prison from which he was powerless to escape, except within the confines of the canvas, and later the mural. In his life, women were powerful figures. Yet, he is seemingly an incurable romantic, allowing us to delve ever deeper into his erotic neurosis. He takes a slight detour from this endless fleshy trek in 1949. This is when he populated his canvases with the iconography of medical skeletons, often thrusting them into biblical tableaux. Curiously, these paintings when shown in the 1954-56 Venice Biennial resulted in the Patriarch of Venice (future Pope John 23rd) to label the works as heretical."
Leddy writes that "He brought his writings, his artistic solutions, and his considerable erudition about First Nations and pre-Columbian culture to New York—primarily in the form of the journal Dyn—but those ideas were gradually appropriated by New York artists. As Amy Winter shows in her book about Paalen, Robert Motherwell, who had worked on Dyn and received, as he put it, his “post-graduate education in surrealism” from Paalen, gradually lost a sense of indebtedness to him. Paalen and Motherwell corresponded frequently, often discussing ideas about art at great length, but now that correspondence is nowhere to be found. Barnett Newman, among others, liberally paraphrased his words in his writings about art, and never gave credit."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.