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James Ensor
Skeletons Fighting for the Body of a Hanged Man
1891
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James Ensor
The Lady in Distress
1882
3' 3 1/4'' x 2' 7 1/2(100 x 79.7 cm)Gift of Armilde Lheureux,1932
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James Ensor
Skeletons Fighting for the Body of a Hanged Man (mk09)
1891
Oil on canvas,59 x 74 cm
Antwerp,Koninklijk Museum voor Schone Kunsten
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James Ensor
Portrait of the Artist Sur-Rounded by Masks (mk09)
1899
Oil on canvas 120 x 80 cm
Antwerp,Collection Jussiant
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James Ensor
The Oyster Eater (nn02)
1882
Oil on canvas
81 1/2 x 59 1/16'' The Antwerp Royal Museum of Fine Arts
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James Ensor
Firworks (nn02)
1887
Oil and encaustic on canvas,40 1/4 x 44 1/4'' Albright-Knox Art Gallery Buffalo New York George B and Jenny R Mathews Fund 1970
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James Ensor
The Entry of Christ into Brussels in 1889 (nn02)
1888
Oil on canvas 102 1/2 x 169 1/2'' The J.Paul Getty Museum,Malibu
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James Ensor
Skeletons Flghting for the Body of a Hanged Man (nn03)
1891
Oil on canvas 59 x 74 cm 23 1/4 x 29 1/8 in Koninklijk Museum Voor Schone Kunsten,Antwerp
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James Ensor
Self-Portrait with Masks
mk52
1899
Oil on canvas
117x80cm
Menard Art Museum,Komaki,Japan
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James Ensor
Self-Portrait
mk67
Oil on canvas
16 1/2x13 3/8in
Uffizi
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James Ensor
Skeletons Flighting for the Body of a Hanged Man
mk87
1891
Oil on canvas
59x74cm
Antwerp,Koninklijk Museum voor Schone Kunsten
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James Ensor
Portrait of the Artist Sur rounded by Masks
mk87
1809
Oil on canvas
120x80cm
Antwerp
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James Ensor
Russian Music
mk98
1881
Oil on canvas
133x110
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James Ensor
The Hippogryph
mk126
1880-85/1886-88
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James Ensor
Nude with Curtain
mk126
1886-88
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James Ensor
Nude at a Balustrade or Nude with Vase and Column
mk126
1880-85/1886-88
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James Ensor
The Oyster Easter
mk126
1882
Oil on canvas
207x105cm
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James Ensor
The Entry of Christ into Jerusalem
mk126
1885
Drawing
206x150.3cm
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James Ensor
James Ensor in his studio,Painting the entry of Christ into Brussels
mk126
1888-89
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James Ensor
The Entry of Christ into Brussels
mk126
889
Oil on canvas
252.7x430.5cm
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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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