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The Billiard Cue in the Drap,Henri de Groux Playing Billiards
new11/James Ensor-754639.jpg
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The_Billiard_Cue_in_the_Drap,Henri_de_Groux_Playing_Billiards
mk126
1903
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Skeletons Playing Billiards
new11/James Ensor-275428.jpg
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Skeletons_Playing_Billiards
mk126
1904
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Do nothing and Let Them Laugh
new11/James Ensor-553594.jpg
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Do_nothing_and_Let_Them_Laugh
mk126
1939
The Abundant Charm of this small,late work comes from its dynamism and vivid coloration.
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Souvenirs
new11/James Ensor-236294.jpg
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Souvenirs
mk126
1926
Various authors have expressed the opinion that Ensor-s Creativity dissipated around 1900
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The Vile Vivisectors
new11/James Ensor-896543.jpg
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The_Vile_Vivisectors
mk126
ca.1930
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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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