Doyen' of the international jet-set, de Botton's career largely evolved around important commissions from European royalty and wealthy American patrons. The wider American public became familiar with his work during the 1930s, through his murals at the Carnegie Institutes in Pittsburgh, Boston and Chicago, as well as through his many one-man shows at the Rockefeller Centre (1937), The Caroll Carstairs Galleries (1937) and Knoedler & Co. (1942). The Boston, Philadelphia, San Diego and Seattle museums all hosted his shows. Nus sur la Jetée appeals in its precision of design that leaves nothing to chance and very little to instinct, in combination with an acute sensitivity to complex chords of colour, and a quick response to the kind of experience that turns an artist into an interpreter rather than a manipulator of paint. Lounging in the foreground is the artist himself, witness to a scene of 'Luxe, calme et volupté'. De Botton's work is in the collections of the following museums:
Carnegie Institute, Pittsburgh
Dallas Museum, Dallas
Fogg Art Museum, Harvard
Metropolitan Museum of Art, New York
Musée National d'Art Moderne, Paris
Museum of Art, Atlanta
Norton Museum, Palm Beach
San Diego Museum
Wallraff-Richartz Museum, Cologne