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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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Death and the Masks
mk126
1897
Under a livid sky in Which two Flying skeletons armed with scythes
Painting ID:: 37507
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Death_and_the_Masks
mk126
1897
Under a livid sky in Which two Flying skeletons armed with scythes
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Pierrot and Skeleton
mk126
1905
By the light of a paraffin lamp,Pierrot seems to be under attack by two skeletons.
Painting ID:: 37509
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Pierrot_and_Skeleton
mk126
1905
By the light of a paraffin lamp,Pierrot seems to be under attack by two skeletons.
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The Red Judge
mk126
1900
In this particularly cruel picture,we see a judge flanked by two skeletons wearing top hats.
Painting ID:: 37510
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The_Red_Judge
mk126
1900
In this particularly cruel picture,we see a judge flanked by two skeletons wearing top hats.
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The Girl with Masks
mk126
1921
This picture shows a young girl open-mouthed,with her gaze fixed on bouquet of flowers she is holding in both hands.
Painting ID:: 37511
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The_Girl_with_Masks
mk126
1921
This picture shows a young girl open-mouthed,with her gaze fixed on bouquet of flowers she is holding in both hands.
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The Entry of Christ into Brussels
mk126
1898
A man wearing a top hat in the near foreground holds a poster declaring Vive Anseele et jesus.
Painting ID:: 37512
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The_Entry_of_Christ_into_Brussels
mk126
1898
A man wearing a top hat in the near foreground holds a poster declaring Vive Anseele et jesus.
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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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