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Skeletons Flighting for the Body of a Hanged Man
new9/James Ensor-832385.jpg
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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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Portrait of the Artist Sur rounded by Masks
new9/James Ensor-997626.jpg
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Portrait_of_the_Artist_Sur_rounded_by_Masks
mk87
1809
Oil on canvas
120x80cm
Antwerp
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Russian Music
new10/James Ensor-995643.jpg
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Russian_Music
mk98
1881
Oil on canvas
133x110
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The Hippogryph
new11/James Ensor-342683.jpg
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The_Hippogryph
mk126
1880-85/1886-88
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Nude with Curtain
new11/James Ensor-446734.jpg
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Nude_with_Curtain
mk126
1886-88
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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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