|
|
|
|
|
|
James Ensor
Calvary
mk126
1880-86
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Christ Tormented by Demons
mk126
1895
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Skeletons Fighting Over a Pickled Herring
mk126
1891
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Skeleton Painter
mk126
1896-97
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Skeleton Musicians
mk126
1888
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Mirror with Skeleton or The Devil-s Mirror
mk126
1890
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
My Portrait Skeletonnized
mk126
1889
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
My Portrait Skeletonnized
mk126
1889
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
View of Mariakerke
mk126
1901
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Poachers
mk126
1882
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
After the Storm
mk126
1880
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Large Seascape-Sunset
mk126
1885
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Christ Calming the Storm
mk126
1891
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Christ Calming the Storm
mk126
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Christ Walking on Water
mk126
1885
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Fireworks
mk126
1887
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Carnival at Ostend
mk126
1933
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Baths of Ostend
mk126
1899
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
White and Red Clowns Evolving
mk126
1890
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Tormented Peasants
mk126
ca.1893
|
| |
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
| 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.
|
