FOUR MONTHS LATER - BACK TO MARSEILLE

Back to Marseille. When I had enjoyed those lovely four days in March with Pierrette, we had discovered Marseille together (50 YEARS LATER...... chapter 1 21-23rd May). We went to see the exhibition on Faces at the Vielle Charité. However, the trip was to discover Marseille. When wandering around the city as we did, I saw posters for two exhibitions that interested me - The Paul Delvaux at the renovated Cantini museum and another at the Mucem on the Carnival taken as a subject. These I would come back for.

I left Paris is spitting rain and arrived in Marseille in brilliant sunshine and warmth. What a pleasure. There was no time to lose as the trip was for « nearly 48 hours » - so I set off for the Cantini. The directions given by the hotel and on a map seemed very clear. They were not. Looking down this little street, would you imagine that there was a museum there?

and it is not the sign on the left but further down.....

I had first encountered Paul Delvaux in Edinburgh with Pierrette. Not being a « surrealist person » his painting surprised me by its mystery and these women wandering around -mostly naked - under lights or in empty streets. There were other paintings I discovered later in permanent exhibitions. In preparation for my visit, I looked into Internet and was virtually drowned by information.....this though is essential......

Delvaux was born in Belgian (1887-1994) the son of a lawyer. The young Delvaux took music lessons, studied Greek and Latin, and absorbed the fiction of Jules Verne and the poetry of Homer. All of his work was to be influenced by these readings, starting with his earliest drawings showing mythological scenes. He studied at the Académie Royale des Beaux-Arts in Brussels, albeit in the architecture department owing to his parents' disapproval of his ambition to be a painter. Nevertheless, he pursued his goal, He completed some 80 paintings between 1920 and 1925,which was the year of his first solo exhibition.

Once I was in the exhibition which was well set out (although why I started at the end is still a mystery) I began to « feel » his work. If I had seen his first years before his women, I would not have carried out my research on the artist any further. He was obviously exploring techniques in his landscapes in the early years. None of which I liked. Then he moved onto railway scenes with the introduction of human figures. He loved trains and he loved railways as a child and this emergence of modernity fascinated him. Remember we are in the late 20’s. He left this period behind but came back to it around 1950.

The Station 1971

Station Scene

Solitude 1955

Another fascination was for skeletons. James Ensor had the same fascination - another Belgium artist I like so much. However, he represents them in « living » situations and in quite a few religious scenes. I didn’t spend too much time with these creatures as they left me a little cold to say the least.

But then onto women who became his subject of predilection. « Sleeping Venus » is among one of his first major works. The Acropole confirms this side of his surrealist nature. Or for me anyway.

L'Acropole

La Vénus endormie 1932

There is something tender, sensual and graceful about these figures. Then coming back on my steps, I began to see that they all had the same faces - is this a representation of the « ideal woman » for him? They are pensive, melancholic, and alone as if they refuse any dialogue.

Woman's face 1973

L'Ermitage 1973 - Hermitage

The Staircase 1946

Léda 1948 (ink and water colour)

Study for "The Beauties of the Night" 1936

The Dialogue 1974

He is also interested in the female couple. Surely a feminine homosexuality. He had wanted to marry Tam, but his family refused this although he did find her 20 years later.

Wedding in Antheit 1932

Friends 1930

Two Friends 1966

The Dream 1944

A Vanadé 1972

The Courtisane 1944

The Divan 1934

Study for "the visi" 1939

Rivals 1966

Is this why he painted so many feminine couples? Some are very close, some are quarreling - he may have been an unhappy man at that period seeking his revenge though this particular subject.

The Dispute 1933

Influenced by Magritte, de Chirico, the surrealist movement (although he said that he never belonged to it), mythology - the woman is the key role in his painting throughout his life. There is the foundation in Belgium which I would like to visit - but really off the beaten track. www.delvauxmuseum.com/

Palace in ruins 1935

The Table 1946

A Vanadé 1972

The Dream 1935

I like his work - but once again - in small doses. Physically I am definitely not one of his women - but I understand them.

L'Annonciation 1955

Shadows 1965

I had been lucky enough to take some photos in the museum - definitely not permitted but when I asked a woman in the upstairs section, she said « when I’m not in the room - take them, but not when someone else is around". There were few spectators and during the later period of his work I was able to use my iPhone.

Up to the permanent collection, where photographs could be taken. A period I enjoy as you know, the 30’s and a couple of artists I knew little about.   Charles Camoin for instance he was a self taught artist and after the war was able to dedicated himself to his art. He married Lola - and that certainly helped his life style. Also August Chabuad (1882-1955).