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EDUCATION Saint-Gilles-lez-Brussels upper secondary school, Latin - Maths 1954-1960 |
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I am astounded by those who stand in front of Delcol's paintings and talk about vulgarity, pornography, sex-shop, meat market or guts. It is as false and idiotic to speak like that as to think at religious trinkets when looking at Mantegna, the art of war before the knights of Uccello, a bakery when contemplating Fornarina, vertebrae before Ingres's Grande odalisque.
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| ONE-MAN SHOWS 1969 Isy Brachot Gallery Brussels 1970 Isy Brachot Gallery Brussels Preface: Louis Scutenaire Schubert Gallery Milan 1971 Isy Brachot Gallery Brussels Preface: Félix Labisse Il Fauno Gallery Turin Preface: Janus |
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| Delcol's <<La demoiselle>> is a blond hair in the soup of Tartufe(s) falling from nudes.. It is a highly personal manner to put her heavy breasts, her upturned nose, her cyclist's buttocks in every possible light. Voluptuous, innocent, edible, shameless, attentive, available, silent, scrupulous, healthy, this Fairy of the abode offers an on-going reverie freed from any erotic complication. And yet, If by some devil's luck I could meet her one evening, I would like for it to be in the murky dimmed light of a precinct's billiard room.
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The image developed in painting has even a silent side that intrigues and prods towards the study of the gigantic, the very large poster, and the nude as a strike force, a force of ineluctable approach†: we are really face to face in an absolute silence, where the quiet hilarity, which Delcol calls <<the nude disorder>> (compared with the <<dressed order>>)... Contemporary painting, in hyperrealism, is obviously a counter-photography. A fixed plan that does not pull all technical strings and feats, to become, in Delcol's case, a powerful, hilarious nude. We are on the edge of fun, a certain eccentricity, with <<la demoiselle>>. A nice change of the smooth seriousness of the academy. Ingres has given to Delcol.
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1972 Isy Brachot Gallery Brussels Preface: Louis Scutenaire |
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I particularly like your drawings on canvas.
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| London, March 1971. Dear Children, KISSES. Edouard.
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| 1974 Place Beauvau Art Gallery, Paris Isy Brachot Gallery, Knokke le Zoute Published by Artides <<Multiples>> Gallery Brussels |
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| 1975 Debel Gallery Einkerem-Jerusalem under the patronage of the Consul General of Belgium Isy Brachot Gallery Brussels 1976 The Art Salon <<Lithographs>> Brussels Botanical Garden Theatre Brussels <<Integration of Delcol's one man show in Richard Olivier's play KING SINGER>> 1977 Isy Brachot Gallery Brussels 1978 Brussels Jazz Club Brussels Integration of paintings in the club J.M.V. Fine Studio Moustiers-Ste-Marie Exhibition of glazed earthenware 1979 Kamp Gallery (paintings) Amsterdam J.M.V. Fine Studio Moustiers-Ste-Marie Exhibition of glazed earthenware |
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Thank you for sending my <<Histoires Naturelles>> where you force the real, not without some violence, to hitch up with appearance. And thanks to you, the downside appears in full bloom.
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| 1980 J.M. Fine Gallery Moustiers-Ste-Marie Exhibition of glazed earthenware 1981 J.M. Fine Studio Moustiers-Ste-Marie Exhibition of earthenware Haute Provence The Freesbe Neuchâtel, Switzerland Integration of 20 paintings in the club 1982 Horta Museum Brussels <<10 years of lithographs>> Presentation of the book <<La Chanson de Roland>> by Louis Scutenaire |
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It was with interest that I discovered the book of Louis Scutenaire on painting whom I already know through one of our friends. I appreciate your art, your sense of humour and the perfection of the drawing, so much lacking nowadays. Painters today no longer know how to draw, but want to hang in the Louvre after two or three years of colouring.
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Because I write as much in order to tell the truth as to amuse myself, I will note here that in cycling, we have had Zimmermann, Coppi, Van Looy, Merckx, and then a large number of craftsmen of the bicycle. In painting, there has been the primitivism of green on green of Prado, Uccello, Rousseau, Magritte, Delcol, and then countless craftsmen of the brush. Just as the two, Magrittes, René that every one knows, and Paul, whom no one knows, Delcol creates peculiar objects, looks for purportedly impossible solutions like squaring the circle, perpetual movement, unequal angles of a square, adjoining parallels...
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| 1983 Angoletto Gallery Florence 1984 Angoletto Gallery Florence 1993 Espace Deauville Deauville <<During the American Cinema Festival >> 2000 Alexie Gallery, Broadway New York COLLECTIVE SHOWS 1971 Isy Brachot Gallery Brussels - Le Zoute 1972 Isy Brachot Gallery Brussels - Le Zoute Convention Centre (The Painters of Brabant) Brussels Bollinger Prize Brussels 1973 Isy Brachot Gallery Brussels ART 4'73 (Contemporary Art Fair) Basle IKI 73 (Contemporary Art Fair) Düsseldorf Nick Treadwell Gallery (Christmas Exhibition) London 1974 Isy Brachot Gallery Brussels American and European Hyperrealism 1er Contemporary Art Salon Brussels Espace 2000 Brussels Contemporary visionaries (Adami - Ayo - Erro - Monory - Fromanger - Klasen - Recalcati - Ranciac - Roux - Delcol - Stämpfly) Centre for Fine Arts Brussels Exhibition devoted to <<Young Belgian Painting>> ANHYP Art Centre Brussels Belgian Artists ART 5'74 Contemporary Art Fair Basle International Art Market 74 <<One man show>> Cologne Nick Treadwell Gallery <<Mona Lisa 74>> London IKI 74 Contemporary Art Fair Düsseldorf 1975 Isy Brachot Gallery Knokke le Zoute SIGMA 13 <<Hyper and realism in Belgium>> Tournai (in co-operation with the Ministry of French Culture) 1976 Grands Augustins Gallery (Drawings) Paris Centre for Fine Arts (Kunsthalle) Nuremberg <<Schuh Werke>> FIAC 1976 Paris <<Published by La Tortue>> Isy Brachot Gallery Brussels 1977 Daniel Gallery Mexico (under the patronage of the Belgian embassador) Monterey Salon de Mai Paris Salon of Today's Great and Young Paris Nick Treadwell Gallery London <<Romance return, everything's forgiven>> 1978 American Centre Paris Salon de Mai Paris Salon of Today's Great and Young Paris <<Belgian hyper and realists '78>> Luxembourg Le Salon d'Art Gallery Brussels <<Amnesty International>> Arman - Botero - Calder - Delcol - Dibbets - Folon - Hockney - Miro - Topor, etc. 1979 UNESCO Paris <<Critical Figuration>> Salon in Ranelagh Paris Salon of Today's Great and Young Paris In the Grand Palais Salon of Young Painters Paris Free University of Brussels Brussels <<Figurative Painters with Ideas>> Drouot Orsay Hotel Paris <<French Association against the Death Penalty>> 1980 Free University of Brussels Brussels <<Behind reality>> 1996 Brussels Royal Museum of Modern Art Brussels <<What is attractive is beautiful >> Iréne, Scut, Magritte et Co. 2000 Caplain-Matignon Gallery Paris |
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| LLUSTRATIONS SUMMER: By Louis Scutenaire, illustrated with a lithograph by R. Delcol, Published by Origine, Luxembourg, 1973 EMMANUELLE: By Emmanuelle Arsan, illustrated with twelve lithographs by R. Delcol, Published by Tchou, Paris, 1975 L'AMAZONE MASTEE: By Louis Scutenaire, illustrated with a lithography by R. Delcol, Published by Club 80, Luxembourg, 1976 MY INSCRIPTIONS II: By Louis Scutenaire, illustrated with a lithography by Labisse, Alechinsky, Bury, Delcol, Ubac, et alii, Brussels, 1976 |
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| BOOK DEVOTED TO DELCOL'S WORK <<La Chanson de Roland>> by Louis Scutenaire Preface by J.M. Lo Duca, Published by <<L'envers sauvage du réel>>, Brussels, 1982. |
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| TEXTS WRITTEN BY DELCOL <<Aphorisms and Perils>> Published by <<L'envers sauvage du réel>>, Brussels, 1988. |
Your beautiful book has arrived. Passed on to Patrick Poivre d'Arvor with a recommendation. But what is my recommendation worth? I only met this person once, the day I was interviewed on television! Your compliments are in memory of Stéphane Lupasco. For he, since Benedetto Croce, has made the most penetrating and most pure criticism of Hegel's logic, this academic and Germanic extrapolation of the dazzling vision of Heraclitus. I wish you success. Be patient. The media prefer above all mediocrity that does not disturb and the sensational of the bazaar.
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| BIBLIOGRAPHY Only the most important texts have been listed below: Le ARTI no. 10: <<50 years of Belgian painting >> 1969, Milan La Galerie des Arts no. 77 <<50 years of Belgian painting >> 1969, Paris Dictionnaire de sexologie by J.M. Lo Duca in 10 volumes, Published by Encyclopédie francaise de poche, 1972, Paris Chorus 8/9, 1972, Paris Art International (Incorporating the Lugano Review) <<R. DELCOL: photogenic painting>> by René de Solier, 1972, Lugano Art vivant en Belgique by Marc Eemans Published by Meddens, 1972, Brussels Hyperréalistes <<American and European Masters>> Published by Brachot, 1973, Brussels Studio International journal of modern art <<Belgian issue>>, 1974, London Mimesis et art contemporain Published by Vrin, 1979, Paris (Musique jeune, premiére page Published by Du Seuil, 1977, Paris Revue d'Esthétique, collages æ Published by 10/18, 1978, Paris Erotic Art of the Masters of the 20th Century by Bradley Smith, Preface by Henri Miller, published by Julliard, October 1980, General Publishing Company, Crown Publishers, Inc., Canada, New York Le Nu de Rops Delvaux by Marc Eemans, Published by Arto, 1983, France Super Humanism <<a British art movement>> by Nicholas Treadwell, introduction Michael Shepherd, Published Paul Foster, 1980, London De Laatste Surrealist by Marc Eemans, Published by Kunst en Kapitaal, 1984, Antwerpen Un Siécle de Peinture Wallonne <<De Félicien Rops Delvaux>> by Paul Caso, Published by Rossel, 1984, Brussels Penthouse 10 pages by J.M. Lo Duca, French edition?, 1987, Paris Plein Chant quarterly literary review devoted to Louis Scutenaire, 1987, Châteauneuf-sur-Charente A la Recherche du Cinéma perdu by Richard Olivier, Published by Olivier Film, 1989, Brussels Louis Scutenaire by Raoul Vaneigem, Published by Seghers <<Poétes d'aujourd'hui>>, 1991, Paris |
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| Thank you for your letter which really moved me deeply, especially documents on your work. Believe me, I am not trying to suggest a sort of idiotic paradox, nor mess about, but what moves me so much in your painting, is the intensity you reach in the gaze of your characters. Naturally, this is the case only in some paintings. But all realism (by whatever name it goes) of construction seems to me to be an organisation, complex for that matter, which, reaches the eye, from that which does not have or no longer has it. Even the drooping eyelids (most often in men), do not wide, but follow such a heavy gaze.. I am grateful to have discovered your work, and wish to express my admiration.
Yours, Gilles Deleuze |
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| • Iréne, Scut, Magritte, and Co Monumental Catalogue of the Exhibition, Published by the Royal Museums of Fine Arts of Belgium, 1996, Brussels •Coup de Cœur å Thomas Owen by Daniel J. Suetens, <<Les copains du ça m'dit>>, Lefrancq Littérature, 1997, Brussels |
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