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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.
100% hand painted, 100%
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James Ensor Strange Insects
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1888
Here,Ensor Depicts himself as a beetle,and Mariette Rousseau,His Friend-s Wife whom he much admired,as a dragonfly
James Ensor Plague Above,Plague below,Plague all around
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1904
This print,like the earlier 1888 drawing that it copied in reverse,is base on a photograph of a trip Ensor took with family and friends to Bruges.
James Ensor At the Conservatory
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1902
As he later wrote to his friend
the poet and art critic pol de Mont,frome the very start of His career.
James Ensor The Fight
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ca.1910
It seems that Ensor was already fascinated by the motif of fighting men a number of years before he produced this work
James Ensor The Assassination
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1890
The Macabre side of the Victorian imagination was fueled by naturalist novels and sensationalist tabloids
James Ensor The Wise judges
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1891
Social satire works best when there is just enough of a connection with reality to underscore is sardonic difference.
James Ensor The Bad Doctors
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1892
Beginng in the 1890s,Ensor produced a number of Satirical paintings that mocked Belgium-s professional middld class-judges.
James Ensor The Dangerous Cooks
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1896
Ensor made two studies for this painting,a pastel drawing and a gouache on cardboard.
James Ensor The Gendarmes
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1892
The Gendarmes,painted in 1892,provides an intriguing example of how Ensor deployed his own engaged and expressive individaualism as a vehicle for social critique.
James Ensor The Puzzled Masks
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1930
This work is immediately preceded by a number of graphic varia--tions on the theme.
James Ensor The Tribulations of St.Anthony
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1909
The theme of temptation as a representation of the artist-s explo-ration of his own powers of imagination is a subject that continued to fascinate Ensor throughout his career.
James Ensor The Fantastic Ballet
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1889
This color etching predates the painting of the same name by almost thirty years.
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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