|
|
|
|
|
|
James Ensor
Pride
mk126
1903
Old People,ugly and poor people,a priest,even a donkey and death bow before a distinguished-looking man.
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Avarice
mk126
1903
As a thin old man sis at the table counting his money,two thieves take him by surprise.
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Envy
mk126
1903
A pretty young mother presents her progeny.like Mary with the Christ child.she is surrounded by a luminous halo,and she radiates clam and contentment.
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Gluttony
mk126
1903
Two Men sit at a table and throw up the meal they have just eaten,while death is already bringing them the next course.
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Deadly Sins Dominated by Death
mk126
1903
This sheet Concludes the series of The Seven Deadly Sins-It also served as the frontispiece for the album of 1904
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Louis Xiv Playing Billiards
mk126
1903
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Louis XIV Playing Billiards
mk126
1903
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Napoleon Playing Billiards
mk126
1903
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Drunken Men Playing Billiards
mk126
1903
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Waiters and Cooks Playing Billiards,Emma Lambotte at the Billiard Table
mk126
1903
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Billiard Cue in the Drap,Henri de Groux Playing Billiards
mk126
1903
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Skeletons Playing Billiards
mk126
1904
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Do nothing and Let Them Laugh
mk126
1939
The Abundant Charm of this small,late work comes from its dynamism and vivid coloration.
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Souvenirs
mk126
1926
Various authors have expressed the opinion that Ensor-s Creativity dissipated around 1900
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
The Vile Vivisectors
mk126
ca.1930
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Demons Tormenting me
mk126
1895
This hand-Colored etching is based on an 1888 drawing,a self-Portrait of Ensor surrounded by grotesque monsters who tug,prod,and beseech him.
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Poster for the Salon des Cent
mk126
1898
Ensor obviously liked the idea of the artist resisting teasing demons,for he used this same image,this time in a vertical format.
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Poster for the Carnival at Ostend
mk126
1931
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Poster for the Theatre Royal d-Ostende
mk126
1932
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
James Ensor
Skeletons Fighting over a Hanged Man
mk156
1891
Oil on canvas
59x74cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
| 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.
|
