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James Ensor
La Gamme d-amour
mk126
1921
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James Ensor
Decor
mk126
1929
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James Ensor
The Song of the Wine or Thirsty Masks
mk126
1935
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James Ensor
Theater of Masks
mk126
1908
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James Ensor
The Puzzled Masks
mk126
1930
This work is immediately preceded by a number of graphic varia--tions on the theme.
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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.
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James Ensor
The Tormens of St.Anthony
mk126
1932-33
The motif of illness is evoked by the monk-s habit.
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James Ensor
The Fantastic Ballet
mk126
1889
This color etching predates the painting of the same name by almost thirty years.
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James Ensor
Flowered Figures
mk126
1936
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James Ensor
The Garden of love
mk126
1910
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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
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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.
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James Ensor
The Triumph of Venus
mk126
1940
Following in the tradition of Botticelli,Ensor takes up the motif of the foam-born Vens.
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James Ensor
The ideal
mk126
1925
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James Ensor
Nymphs,Dancers,Demons
mk126
ca.1908
Drawn with colored pencils on an overprinted gray-black ground.
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James Ensor
The Fight of the Angels and the Demons
mk12
1888
This drawing combines two subjects characteristic for Ensor-s entire oeuvre.
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James Ensor
Devils Tormenting a Monk
mk126
1940
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James Ensor
Sloth
mk126
1902
The Depiction of sloth is almost theatrical.
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James Ensor
Lust
mk126
1888
Lust is the first sheet of the series that Ensor produced.
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James Ensor
Anger
mk126
1903
A Man and a woman are fighting-They have already wounded each other with their weapons.
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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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