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."