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James Ensor
The Tribulations of St.Anthony
mk126
1887
Oil on canvas
117x167.5cm
Museum of Modern Art
New York
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James Ensor
The Scandalized Masks
mk126
1883
Oil on canvas
135x112cm
Musee Royaux des Beaux-Arts de Belgique
Brussels
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James Ensor
Self-Portrait,Called The Big Head
mk126
1879
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James Ensor
Self-Portrait,Called The Little Head
mk126
1879
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James Ensor
Self-Portrait at the Easel
mk126
1879
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James Ensor
Self-Portrait with Flowered Hat
mk126
1883/1888
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James Ensor
Self-Portrait by Lamplight or In the Shadow
mk126
1886
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James Ensor
My Portrait with Masks
mk126
1936
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James Ensor
Me,My Color and My Attributes
mk126
1939
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James Ensor
Christ and the Afflicted
mk126
1938
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James Ensor
Christ in Agony
mk126
1888
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James Ensor
Christ in Agony
mk126
1931
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James Ensor
Christ and the Lame
mk126
1880/1885-86
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James Ensor
The Annunciation
mk126
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James Ensor
The Annunciation of the Magi
mk126
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James Ensor
Flight into Egypt
mk126
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James Ensor
The Holy Family
mk126
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James Ensor
The Circumcision
mk126
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James Ensor
The Baptism of Christ
mk126
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James Ensor
The Massacre of the Innocents
mk126
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| James Ensor
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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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