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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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The Tribulations of St.Anthony
mk126
1909
The theme of temptation as a representation of the artist-s explo-ration of his own powers of imagination is a subject that continued to fascinate Ensor throughout his career.
Painting ID:: 37543
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The_Tribulations_of_St.Anthony
mk126
1909
The theme of temptation as a representation of the artist-s explo-ration of his own powers of imagination is a subject that continued to fascinate Ensor throughout his career.
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The Tormens of St.Anthony
mk126
1932-33
The motif of illness is evoked by the monk-s habit.
Painting ID:: 37544
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The_Tormens_of_St.Anthony
mk126
1932-33
The motif of illness is evoked by the monk-s habit.
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The Fantastic Ballet
mk126
1889
This color etching predates the painting of the same name by almost thirty years.
Painting ID:: 37546
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The_Fantastic_Ballet
mk126
1889
This color etching predates the painting of the same name by almost thirty years.
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Flowered Figures
mk126
1936
Painting ID:: 37547
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Flowered_Figures
mk126
1936
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The Garden of love
mk126
1910
Painting ID:: 37548
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The_Garden_of_love
mk126
1910
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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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