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Skeleton i the studio
new11/James Ensor-883669.jpg
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Skeleton_i_the_studio
mk1260
1900
Here,as in skeletons trying to warm themselves of 1889,we are in the artist-studio.this time,however,the space is not bare,but full of masks,curios,books,palettes,utensils,folders full of painting,and even a coffee grinder sitting on a perfectly ordinary chair.
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Masks Watching a Negro Minstrel
new11/James Ensor-973353.jpg
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Masks_Watching_a_Negro_Minstrel
mk126
ca.1878-79
This is an early work,which dates from Ensor-s Brussels period.it could easily be an academic teaching piece on the paintng of live Models.
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Old Woman with Masks
new11/James Ensor-286426.jpg
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Old_Woman_with_Masks
mk126
1889
As he had already with Masks watching a negro minstrel.Ensor added the masked figures to this painting at a later time.
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Masks Confronting Death Or Masks Mocking Death
new11/James Ensor-869455.jpg
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Masks_Confronting_Death_Or_Masks_Mocking_Death
mk126
1888
The skeleton and it-s pendant the mask haunt Ensor-sbest-known pictures.
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The Great Judge
new11/James Ensor-456967.jpg
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The_Great_Judge
mk126
1898
The Judge is set in the center of the canvas.
Gathered around him are various bewildered-looking
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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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