Paul Delvaux: The Sleepwalker of Saint Idesbald

Until his death in 1994, the twentiethcentury master Paul Delvaux was the last surviving member of the first generation of surrealist painters. In this portrait, he reminisces about his family, himself, his art and the various phases of his career. He explains that all his visual ideas are derived from childhood memories and the film shows the way in which these scenes have been incorporated into his work. The painter is seen as a young man (the earliest footage dates from 1945) and the film includes some unique shots of the extraordinary Musée Spitzner. Until his death in 1994, the twentiethcentury master Paul Delvaux was the last surviving member of the first generation of surrealist painters. In this portrait, he reminisces about his family, himself, his art and the various phases of his career. He explains that all his visual ideas are derived from childhood memories and the film shows the way in which these scenes have been incorporated into his work. The painter is seen as a young man (the earliest footage dates from 1945) and the film includes some unique shots of the extraordinary Musée Spitzner. Until his death in 1994, the twentiethcentury master Paul Delvaux was the last surviving member of the first generation of surrealist painters. In this portrait, he reminisces about his family, himself, his art and the various phases of his career. He explains that all his visual ideas are derived from childhood memories and the film shows the way in which these scenes have been incorporated into his work. The painter is seen as a young man (the earliest footage dates from 1945) and the film includes some unique shots of the extraordinary Musée Spitzner. Until his death in 1994, the twentiethcentury master Paul Delvaux was the last surviving member of the first generation of surrealist painters. In this portrait, he reminisces about his family, himself, his art and the various phases of his career. He explains that all his visual ideas are derived from childhood memories and the film shows the way in which these scenes have been incorporated into his work. The painter is seen as a young man (the earliest footage dates from 1945) and the film includes some unique shots of the extraordinary Musée Spitzner.