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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 The Song of the Wine or Thirsty Masks mk126
1935
Painting ID:: 37541
X
James Ensor Theater of Masks mk126
1908
Painting ID:: 37542
X
James Ensor The Puzzled Masks mk126
1930
This work is immediately preceded by a number of graphic varia--tions on the theme.
Painting ID:: 37543
X
James Ensor 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:: 37544
X
James Ensor The Tormens of St.Anthony mk126
1932-33
The motif of illness is evoked by the monk-s habit.
Painting ID:: 37546
X
James Ensor The Fantastic Ballet mk126
1889
This color etching predates the painting of the same name by almost thirty years.
Painting ID:: 37547
X
James Ensor Flowered Figures mk126
1936
Painting ID:: 37548
X
James Ensor The Garden of love mk126
1910
Painting ID:: 37549
X
James Ensor 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:: 37550
X
James Ensor 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:: 37551
X
James Ensor The Triumph of Venus mk126
1940
Following in the tradition of Botticelli,Ensor takes up the motif of the foam-born Vens.
Painting ID:: 37552
X
James Ensor The ideal mk126
1925
Painting ID:: 37553
X
James Ensor Nymphs,Dancers,Demons mk126
ca.1908
Drawn with colored pencils on an overprinted gray-black ground.
Painting ID:: 37554
X
James Ensor The Fight of the Angels and the Demons mk12
1888
This drawing combines two subjects characteristic for Ensor-s entire oeuvre.
Painting ID:: 37555
X
James Ensor Devils Tormenting a Monk mk126
1940
Painting ID:: 37556
X
James Ensor Sloth mk126
1902
The Depiction of sloth is almost theatrical.
Painting ID:: 37557
X
James Ensor Lust mk126
1888
Lust is the first sheet of the series that Ensor produced.
Painting ID:: 37558
X
James Ensor Anger mk126
1903
A Man and a woman are fighting-They have already wounded each other with their weapons.
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.
