My hope of getting some biographical and scholarly information on Balthus from this book was quickly dashed in the brief introduction, written by Balthus’ son, that declared Balthus rejected any form of biographical sharing or critical interpretation! So we just received some general thoughts and a classic defense of the controversial paintings (they are sensual and/or innocent depictions of adolescent girls, and any suggestion they are pornographic is wrong, etc.). That may be so, but the defense seemed especially banal and slapped-on considering the previous points above. The images in the book were clear, chronological, covered his entire career, and almost definitive. (The infamous Guitar Lesson, 1934 was left out because Balthus doesn’t want it to be printed, which again seems to contradict the two points above, although his son spins it as protecting the work from misinterpretation, so who knows?) Unfortunately, my library had the first edition and not the revised edition which has more works and, from what I can see in reviews, a more insightful essay. I guess I will have to turn to other books for a more critical study, regardless of what Balthus thinks of that practice!
While the subject matter within the artwork that Balthus creates is not to my personal preference - I still learned more about this business of being a professional artist by reading this book and becoming aware of how another artist thinks about artwork and art careers.
the essay is pretty short but very impactful. i admire how he loved art until the very very end and treated the act of painting as something that transcends life. not sure if i agree with his idea that his subject matter and style has no deeper meaning, it is fishy that he was so heavily influenced by eastern styles and painted a lot of nude women and rarely any nude men, reminds me of john currin