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the damsel in distress
new20/James Ensor-354673.jpg
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the_damsel_in_distress
mk247
1882,oil on canvas,39.5x31.375 in,100.5x79.5 cm,musee d orsay,paris,france
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christ s triumphant entry into brussels in 1889
new20/James Ensor-632239.jpg
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christ_s_triumphant_entry_into_brussels_in_1889
mk247
1888,oil on canvas,99.5x169.5 in,252x431 cm,j.paul getty museum,los angeles,ca,usa
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flicka med docka
new23/James Ensor-946469.jpg
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flicka_med_docka
1884
se
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intrigen
new23/James Ensor-574578.jpg
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intrigen
1890
se
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The Rower
new26/James Ensor-345546.jpg
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The_Rower
painting: 1883.
cjr
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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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