Good overall condition, see photo. Born into a family established in Algeria for several generations, Louis Bénisti attended secondary school at the Lycée d'Alger from 1914 to 1920 and then worked as a jeweler from 1920 to 1928. In 1928, he left the jewelry business and attended the art academy of Alfred Figueras, a Catalan painter and political refugee in Algiers. There, he became friends with Jean de Maisonseul, who introduced him to Albert Camus. He became one of Camus's close friends, during an evening organized by Max-Pol Fouchet. In 1931, he turned to sculpture. Camus was the first to comment, in 1934, on the works he exhibited and drew inspiration from him for the character of Noël in "La Mort heureuse." Louis Bénisti was a resident of the General Government of Algeria at Casa Vélasquez in 1934. In 1935, he became a drawing teacher at the Maison Carrée lycée. At the same time, he participated in the staging of performances for the "Théâtre du Travail" and then the "Théâtre de l'Équipe," which Camus led. Camus later told Maisonseul, "I spend my life seeing people I despise or who bore me, knowing that I will never meet anyone like Bénisti." In 1934, Louis Bénisti exhibited at the Algerian bookstore-gallery Les Vraies Richesses of Edmond Charlot and regularly participated in the Salon d'Automne in Paris. He went to study in Paris in 1938 at various academies. Upon returning to Algiers in 1941, he married in 1942. He subsequently exhibited regularly in Algiers and Oran (at Robert Martin's "Colline" gallery) as well as in Paris. From 1943 onwards, he dedicated himself entirely to painting. In 1947, he met poet Jean Sénac, who dedicated an article to him that same year in "Oran-Républicain." In agreement with Camus's relatives, he erected a stele in 1961 in Tipasa in memory of the writer. In 1964, he participated in the exhibition of Algerian painters presented at the Musée des Arts Décoratifs in Paris. Louis Bénisti taught drawing in schools from 1948 until his retirement in 1972. He then settled in Aix-en-Provence, where he continued to paint, "sensitive to children playing on the steps of the HLM he lived in" and "observing the same attitudes of children and teenagers he had seen in the Casbah of Algiers." He then created drawings and monotypes on themes of childhood and dance, reconstructing with the help of old drawings "a lost Casbah, the women and children from the streets of his Algerian youth, beyond any anecdote." Type: Ink Style: 1960 Characteristics: On Paper Theme: Landscape