|
|
|
|
|
|
James Ensor
Demons Trashing Angels and Archangels
mk126
1888
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Skaters
mk126
1889
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Cathedral
mk126
1886/1933
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Cathedral
mk126
1886
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Cathedral
mk126
1896
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Death Pursuing the Human Flock
mk126
1896
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
King Pest
mk126
1895
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Red apples
mk126
1883
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Peaches
mk126
1890
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Dead Cockerel
mk126
1894
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Skate
mk126
1892
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Blue Flacon
mk126
1917
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Still life with Blue Jar
mk126
1890-91
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Seashells
mk126
1933
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Seashells
mk126
1889
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Red Cabbages and Onion
mk126
1913
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Red Cabbage and Masks
mk126
1925-30
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Still life with Blue Vase and Fan
mk126
1889
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Harmony in Blue
mk126
1917
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Still life with Chinoiseries
mk126
1928
|
| |
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
| 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.
|
