Keep the Faith, Bent - Balthus and the "Rest of the Naked Girl."

A girl without any scruple showing their tender bodies, she lazily leaning on the chair, the whole body as if Huarong General - simple, natural and innocent. Her dynamic, her body, and the complex world of stark contrast. Screen, the girl Weibi eyes, as if had gone to sleep, and the dynamics of the entire body, letting the audience feel that this is an edge in adolescent girls. Even such subtle movements seem to tell or remind the audience, in front of the girl is moving into her adolescence, like a flower, Hanbaoyufang. And also the nature of the symbol. In fact, this delicate and sweet theme of adolescent women is almost a Balthus painting throughout his career, almost all of the canvas, his brush strokes are easy to describe with the potential of consciousness. "Rest in the nude girl" is his most representative works.
Balthus show in the youth on the superhuman talent, many of the early years of famous works of popular appreciation, held in Paris in 1934, the first personal exhibition, carefully painted to reflect real life filled with dream-like atmosphere, to the audience impressed. In addition, Balthus is not a law-abiding artists, he adventurous character, keen on making a shocking incident, as his early social explosions that have a "scandal work", which has caused great controversy, but also brought him a very a great honor, so that he became famous. He made no secret of this recognition of their own ideas, he said: "I think as soon as known, so I want to paint some of the paintings to shock everyone." Balthus liked to accumulate layer after layer of color, like murals generally rough . As this piece, as in the simple lines and colors in the white side showing a mural-like heavy sense, but also produce a psychedelic atmosphere. Balthus never received formal training, but many of his works of masters from the ancient inspired, self-taught. He was European critics hailed as the greatest 20th century painters of the West, especially his work no traces of contemporary style; we re-watch this piece, as if it is distant from the step into the modern era of painting.