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.
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James Ensor The flowering Clarinet oil


The flowering Clarinet
Painting ID::  37549 		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
   
   
     
James Ensor The Ride of the Valkyries oil


The Ride of the Valkyries
Painting ID::  37550 		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.
   
   
     
James Ensor The Triumph of Venus oil


The Triumph of Venus
Painting ID::  37551 		The Triumph of Venus
mk126 1940 Following in the tradition of Botticelli,Ensor takes up the motif of the foam-born Vens.
   
   
     
James Ensor The ideal oil


The ideal
Painting ID::  37552 		The ideal
mk126 1925
mk126 1925
   
   
     
James Ensor Nymphs,Dancers,Demons oil


Nymphs,Dancers,Demons
Painting ID::  37553 		Nymphs,Dancers,Demons
mk126 ca.1908 Drawn with colored pencils on an overprinted gray-black ground.
   
   
     
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     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.

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