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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 flowering Clarinet
mk126
1938
Flowers and musical instruments are the two elements of Composi-tion chose by James Ensor to honor August de Boeck
Painting ID:: 37549
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The_flowering_Clarinet
mk126
1938
Flowers and musical instruments are the two elements of Composi-tion chose by James Ensor to honor August de Boeck
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The Ride of the Valkyries
mk126
1938
Ensor painted entirely new works only rarely,when awarded a com-mission,for instance,or when asked to contribute a prize for a raf-fle.
Painting ID:: 37550
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The_Ride_of_the_Valkyries
mk126
1938
Ensor painted entirely new works only rarely,when awarded a com-mission,for instance,or when asked to contribute a prize for a raf-fle.
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The Triumph of Venus
mk126
1940
Following in the tradition of Botticelli,Ensor takes up the motif of the foam-born Vens.
Painting ID:: 37551
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The_Triumph_of_Venus
mk126
1940
Following in the tradition of Botticelli,Ensor takes up the motif of the foam-born Vens.
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The ideal
mk126
1925
Painting ID:: 37552
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The_ideal
mk126
1925
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Nymphs,Dancers,Demons
mk126
ca.1908
Drawn with colored pencils on an overprinted gray-black ground.
Painting ID:: 37553
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Nymphs,Dancers,Demons
mk126
ca.1908
Drawn with colored pencils on an overprinted gray-black ground.
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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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