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James Ensor
Belgian
1860-1949
Belgian painter, printmaker and draughtsman. No single label adequately describes the visionary work produced by Ensor between 1880 and 1900, his most productive period. His pictures from that time have both Symbolist and Realist aspects, and in spite of his dismissal of the Impressionists as superficial daubers he was profoundly concerned with the effects of light. His imagery and technical procedures anticipated the colouristic brilliance and violent impact of Fauvism and German Expressionism and the psychological fantasies of Surrealism. Ensor most memorable and influential work was almost exclusively produced before 1900, but he was largely unrecognized before the 1920s in his own country. His work was highly influential in Germany, however: Emil Nolde visited him in 1911, and was influenced by his use of masks; Paul Klee mentions him admiringly in his diaries; Erich Heckel came to see him in the middle of the war and painted his portrait (1930; Cologne, Wallraf-Richartz-Mus.); Alfred Kubin owned several of his prints, while Marc Chagall and George Grosz also adapted certain elements from Ensor. All the artists of the Cobra group saw him as a master. He influenced many Belgian artists including Leon Spilliaert, Rik Wouters, Constant Permeke, Frits van den Berghe, Paul Delvaux and Pierre Alechinsky.
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Skeletons Fighting for the Body of a Hanged Man
1891
Painting ID:: 1138
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Skeletons_Fighting_for_the_Body_of_a_Hanged_Man
1891
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The Lady in Distress
1882
3' 3 1/4'' x 2' 7 1/2(100 x 79.7 cm)Gift of Armilde Lheureux,1932
Painting ID:: 11710
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The_Lady_in_Distress
1882
3' 3 1/4'' x 2' 7 1/2(100 x 79.7 cm)Gift of Armilde Lheureux,1932
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Skeletons Fighting for the Body of a Hanged Man (mk09)
1891
Oil on canvas,59 x 74 cm
Antwerp,Koninklijk Museum voor Schone Kunsten
Painting ID:: 21625
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Skeletons_Fighting_for_the_Body_of_a_Hanged_Man_(mk09)
1891
Oil on canvas,59 x 74 cm
Antwerp,Koninklijk Museum voor Schone Kunsten
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Portrait of the Artist Sur-Rounded by Masks (mk09)
1899
Oil on canvas 120 x 80 cm
Antwerp,Collection Jussiant
Painting ID:: 21626
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Portrait_of_the_Artist_Sur-Rounded_by_Masks_(mk09)
1899
Oil on canvas 120 x 80 cm
Antwerp,Collection Jussiant
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The Oyster Eater (nn02)
1882
Oil on canvas
81 1/2 x 59 1/16'' The Antwerp Royal Museum of Fine Arts
Painting ID:: 23150
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The_Oyster_Eater_(nn02)
1882
Oil on canvas
81 1/2 x 59 1/16'' The Antwerp Royal Museum of Fine Arts
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James_Ensor
Belgian
1860-1949
Belgian painter, printmaker and draughtsman. No single label adequately describes the visionary work produced by Ensor between 1880 and 1900, his most productive period. His pictures from that time have both Symbolist and Realist aspects, and in spite of his dismissal of the Impressionists as superficial daubers he was profoundly concerned with the effects of light. His imagery and technical procedures anticipated the colouristic brilliance and violent impact of Fauvism and German Expressionism and the psychological fantasies of Surrealism. Ensor most memorable and influential work was almost exclusively produced before 1900, but he was largely unrecognized before the 1920s in his own country. His work was highly influential in Germany, however: Emil Nolde visited him in 1911, and was influenced by his use of masks; Paul Klee mentions him admiringly in his diaries; Erich Heckel came to see him in the middle of the war and painted his portrait (1930; Cologne, Wallraf-Richartz-Mus.); Alfred Kubin owned several of his prints, while Marc Chagall and George Grosz also adapted certain elements from Ensor. All the artists of the Cobra group saw him as a master. He influenced many Belgian artists including Leon Spilliaert, Rik Wouters, Constant Permeke, Frits van den Berghe, Paul Delvaux and Pierre Alechinsky.
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