According to Philippe Roberts-Jones, Delvaux’s sketchbooks "constitute a kind of palette of feelings, forms and images; they form the precious depository which houses reflections of the first feeling or the initial idea, the place where the gamut is run, where the theme is conceived" (Roberts-Jones, p.49).
In this sketchbook Delvaux approached two of his main personal themes: women and architecture. As evident in other sketchbooks from the 1920s Delvaux repeatedly made use of a perspective grid to develop compositions, many of them complex entanglements with numerous figures. One of the drawings in the sketchbook relates very closely to the finished painting "Portrait de famille" dated 1925 (cat. rais. 1975: no. 28), which provides a potential date of origin for the sketchbook as early as 1925.
The authenticity of this work has been confirmed by the Fondation Paul Delvaux, Saint-Idesbald.
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