In general good condition, see photo. Born into a family established in Algeria for several generations, Louis Bénisti studied at the lycée of Algiers from 1914 to 1920, then worked as a jeweler from 1920 to 1928. In 1928, he abandoned jewelry and attended the art academy of Alfred Figueras, a Catalan painter and political refugee in Algiers who was a friend of Picasso. 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 on the works he exhibited in 1934 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 the Casa Vélasquez in 1934. In 1935, he became a drawing teacher at the lycée of Maison Carrée. He simultaneously participated in the scenography of the performances of the "Théâtre du Travail" and later the "Théâtre de l'Équipe," which was animated by Camus, who later confided in 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 at various academies in 1938. After returning to Algiers in 1941, he got married in 1942. He then exhibited regularly in Algiers, Oran (at the "Colline" gallery of Robert Martin), and in Paris. From 1943 onwards, he dedicated himself entirely to painting. In 1947, he met the poet Jean Sénac, who devoted an article about him in "Oran-Républicain" the same year. In agreement with Camus's relatives, he had a stele erected in 1961 in Tipasa in memory of the writer. He participated in the 1964 exhibition "Peintres algériens" 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 "finding the same attitudes of children and teenagers he had observed 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 all anecdote."