James Ensor


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Ensor, James

 

Born Apr. 13, 1860, in Oostende (Ostend); died there Nov. 19, 1949. Belgian painter and graphic artist.

Ensor entered the Brussels Royal Academy of Fine Arts in 1877. In 1881 he moved to Oostende. He was influenced by 17th-century Flemish painting, by the artists G. Courbet and C. de Groux, and by the impressionists. From such early realistic works as Woman Eating Oysters (1882, Royal Museum of Fine Arts, Antwerp), Ensor turned to the fantastic in garishly colored compositions with masks and skeletons. In these works he combined satire of the vulgarity of the bourgeois world with sardonic parody of mankind; an example is Entry of Christ Into Brussels (1888, Ensor Museum, Oostende). Ensor’s graphic art was characterized especially by multifigure etchings full of dramatic tension, as in Cathedral (1886).

REFERENCES

Haesaerts, P. James Ensor. [Paris, 1957.]
Legrand, Fr.-Cl. Ensor, cet inconnu. [Brussels, 1971.]
Taevernier, A. James Ensor: Catalogue illustré de ses gravures. Ledeberg, 1973.
References in periodicals archive ?
Harold t'Kint de Roodenbeke presents a major painting by James Ensor, which he recently rediscovered in the US, and a room of watercolours, drawings and paintings by Paul Delvaux.
Post-Impressionists Vincent van Gogh, James Ensor, and Edvard Munch brilliantly conveyed emotions, both subtle and overt.
Masterpieces of Kees Van Dongen and James Ensor were among the stolen works of art.
7770 sqm gross living located in Rue Francois Malherbe, James Ensor and Birmingham BE-1070 Brussels (Anderlecht).
The last great religious painting of the 19th century was not publicly exhibited until a major retrospective was held for James Ensor at the Palais des Beaux Arts in Brussels in 1929 and King Albert I of Belgium bestowed on him the title Of baron.
Crosses, Christ figures, church interiors, clergymen performing rituals, people in prayer, prophets and pietas not only figure in the work of outspoken late-19th century catholic artists such as Giovanni Segantini (Kissing the Cross, 1882-83), Antoon Derkinderen (High Mass, 1886-87), James Ensor (The Entry of Christ in Brussels, 1898) and Jan Toorop (Sketch for a Resurrection, nd), but also in the work of later artists such as Arnulf Rainer (Cross, 1980--86) and Marc Mulders (Foundation in Christ, 1987) and contemporary artists such as Erzsebet Baerveldt (Pieta, 1992), Mike Kelly (Switching Marys, 2005), Julian Schnabel (Gogoltha, 1980) and Bill Viola (The Greeting, 1995).
Their carnival-inspired show, called Les Rates Mortes, is based on the works of Belgian painter James Ensor.
The 19th century salon artists and the modernist painters James Ensor and Rik Wouters are also represented.
Meanwhile, on temporary exhibition until September 23 will be Masquerade, a collection of the work of Belgian painter and printmaker James Ensor (1860-1949), much influenced by the trinkets, curios, and masks that were sold for the annual street carnival at his mother's shop in Ostend.
Be inspired by the exhibition Masquerade: the work of James Ensor.
Image: Christ's Entry into Brussels in 1889 by James Ensor (1888).
Many people see him as the archetypal Mexican artist but he resists this, saying that different artists such as Edvard Munch, James Ensor, William Blake, Rembrandt and Durer have all influenced his work.