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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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Demons Tormenting me
mk126
1895
This hand-Colored etching is based on an 1888 drawing,a self-Portrait of Ensor surrounded by grotesque monsters who tug,prod,and beseech him.
Painting ID:: 37574
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Demons_Tormenting_me
mk126
1895
This hand-Colored etching is based on an 1888 drawing,a self-Portrait of Ensor surrounded by grotesque monsters who tug,prod,and beseech him.
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Poster for the Salon des Cent
mk126
1898
Ensor obviously liked the idea of the artist resisting teasing demons,for he used this same image,this time in a vertical format.
Painting ID:: 37575
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Poster_for_the_Salon_des_Cent
mk126
1898
Ensor obviously liked the idea of the artist resisting teasing demons,for he used this same image,this time in a vertical format.
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Poster for the Carnival at Ostend
mk126
1931
Painting ID:: 37576
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Poster_for_the_Carnival_at_Ostend
mk126
1931
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Poster for the Theatre Royal d-Ostende
mk126
1932
Painting ID:: 37577
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Poster_for_the_Theatre_Royal_d-Ostende
mk126
1932
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Skeletons Fighting over a Hanged Man
mk156
1891
Oil on canvas
59x74cm
Painting ID:: 40823
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Skeletons_Fighting_over_a_Hanged_Man
mk156
1891
Oil on canvas
59x74cm
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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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