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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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Chinoiseries
mk126
1907
Painting ID:: 37497
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Chinoiseries
mk126
1907
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James Ensor in his studio
mk126
1948
Painting ID:: 37498
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James_Ensor_in_his_studio
mk126
1948
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Children Dressing
mk126
1886
In Ensor-s Oeuvre Children Dressing can be considered a water-shed work between the bourgeois living room and the Lyrical sub-jects to come.
Painting ID:: 37499
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Children_Dressing
mk126
1886
In Ensor-s Oeuvre Children Dressing can be considered a water-shed work between the bourgeois living room and the Lyrical sub-jects to come.
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Skeleton Looking at Chinoiseries
mk126
1885/Ca,1890
The Picture shows a skeleton in an armchair leafing through an album of japanese prints.
Painting ID:: 37500
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Skeleton_Looking_at_Chinoiseries
mk126
1885/Ca,1890
The Picture shows a skeleton in an armchair leafing through an album of japanese prints.
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Skeleton Looking at Chinoiseries
mk126
ca.1910
The Picture shows a skeleton in an armchair leafing through an album of japanese prints.
Painting ID:: 37501
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Skeleton_Looking_at_Chinoiseries
mk126
ca.1910
The Picture shows a skeleton in an armchair leafing through an album of japanese prints.
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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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