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The Fight of the Angels and the Demons
new11/James Ensor-233998.jpg
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The_Fight_of_the_Angels_and_the_Demons
mk12
1888
This drawing combines two subjects characteristic for Ensor-s entire oeuvre.
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Devils Tormenting a Monk
new11/James Ensor-294976.jpg
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Devils_Tormenting_a_Monk
mk126
1940
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Sloth
new11/James Ensor-553549.jpg
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Sloth
mk126
1902
The Depiction of sloth is almost theatrical.
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Lust
new11/James Ensor-749435.jpg
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Lust
mk126
1888
Lust is the first sheet of the series that Ensor produced.
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Anger
new11/James Ensor-536735.jpg
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Anger
mk126
1903
A Man and a woman are fighting-They have already wounded each other with their weapons.
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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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