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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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Firworks (nn02)
1887
Oil and encaustic on canvas,40 1/4 x 44 1/4'' Albright-Knox Art Gallery Buffalo New York George B and Jenny R Mathews Fund 1970
Painting ID:: 23152
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Firworks_(nn02)
1887
Oil and encaustic on canvas,40 1/4 x 44 1/4'' Albright-Knox Art Gallery Buffalo New York George B and Jenny R Mathews Fund 1970
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The Entry of Christ into Brussels in 1889 (nn02)
1888
Oil on canvas 102 1/2 x 169 1/2'' The J.Paul Getty Museum,Malibu
Painting ID:: 23153
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The_Entry_of_Christ_into_Brussels_in_1889__(nn02)
1888
Oil on canvas 102 1/2 x 169 1/2'' The J.Paul Getty Museum,Malibu
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Skeletons Flghting for the Body of a Hanged Man (nn03)
1891
Oil on canvas 59 x 74 cm 23 1/4 x 29 1/8 in Koninklijk Museum Voor Schone Kunsten,Antwerp
Painting ID:: 23287
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Skeletons_Flghting_for_the_Body_of_a_Hanged_Man_(nn03)
1891
Oil on canvas 59 x 74 cm 23 1/4 x 29 1/8 in Koninklijk Museum Voor Schone Kunsten,Antwerp
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Self-Portrait with Masks
mk52
1899
Oil on canvas
117x80cm
Menard Art Museum,Komaki,Japan
Painting ID:: 27083
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Self-Portrait_with_Masks
mk52
1899
Oil on canvas
117x80cm
Menard Art Museum,Komaki,Japan
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Self-Portrait
mk67
Oil on canvas
16 1/2x13 3/8in
Uffizi
Painting ID:: 30066
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Self-Portrait
mk67
Oil on canvas
16 1/2x13 3/8in
Uffizi
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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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