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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.
James Ensor 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:: 37500
X
James Ensor 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:: 37501
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James Ensor Skeleton Looking at Chinoiseries mk126
ca.1910
The Picture shows a skeleton in an armchair leafing through an album of japanese prints.
Painting ID:: 37502
X
James Ensor Skeleton i the studio mk1260
1900
Here,as in skeletons trying to warm themselves of 1889,we are in the artist-studio.this time,however,the space is not bare,but full of masks,curios,books,palettes,utensils,folders full of painting,and even a coffee grinder sitting on a perfectly ordinary chair.
Painting ID:: 37503
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James Ensor Masks Watching a Negro Minstrel mk126
ca.1878-79
This is an early work,which dates from Ensor-s Brussels period.it could easily be an academic teaching piece on the paintng of live Models.
Painting ID:: 37504
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James Ensor Old Woman with Masks mk126
1889
As he had already with Masks watching a negro minstrel.Ensor added the masked figures to this painting at a later time.
Painting ID:: 37505
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James Ensor Masks Confronting Death Or Masks Mocking Death mk126
1888
The skeleton and it-s pendant the mask haunt Ensor-sbest-known pictures.
Painting ID:: 37508
X
James Ensor The Great Judge mk126
1898
The Judge is set in the center of the canvas.
Gathered around him are various bewildered-looking
Painting ID:: 37507
X
James Ensor Death and the Masks mk126
1897
Under a livid sky in Which two Flying skeletons armed with scythes
Painting ID:: 37509
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James Ensor Pierrot and Skeleton mk126
1905
By the light of a paraffin lamp,Pierrot seems to be under attack by two skeletons.
Painting ID:: 37510
X
James Ensor The Red Judge mk126
1900
In this particularly cruel picture,we see a judge flanked by two skeletons wearing top hats.
Painting ID:: 37511
X
James Ensor 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:: 37512
X
James Ensor 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:: 37513
X
James Ensor Carnival in Flanders mk126
1925-29
Painting ID:: 37514
X
James Ensor Singing Masks mk126
1925-29
Painting ID:: 37515
X
James Ensor The Grotesque Singers mk126
1891
Painting ID:: 37516
X
James Ensor The Drum Major mk126
1925-29
Painting ID:: 37517
X
James Ensor Interior with Three Portraits mk126
1938
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.
