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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%
cotton canvas,
100% money back if not satisfaction.
James Ensor The flowering Clarinet
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1938
Flowers and musical instruments are the two elements of Composi-tion chose by James Ensor to honor August de Boeck
James Ensor The Ride of the Valkyries
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1938
Ensor painted entirely new works only rarely,when awarded a com-mission,for instance,or when asked to contribute a prize for a raf-fle.
James Ensor The Triumph of Venus
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1940
Following in the tradition of Botticelli,Ensor takes up the motif of the foam-born Vens.
James Ensor The Fight of the Angels and the Demons
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1888
This drawing combines two subjects characteristic for Ensor-s entire oeuvre.
James Ensor Pride
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1903
Old People,ugly and poor people,a priest,even a donkey and death bow before a distinguished-looking man.
James Ensor Envy
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1903
A pretty young mother presents her progeny.like Mary with the Christ child.she is surrounded by a luminous halo,and she radiates clam and contentment.
James Ensor Gluttony
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1903
Two Men sit at a table and throw up the meal they have just eaten,while death is already bringing them the next course.
James Ensor The Deadly Sins Dominated by Death
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1903
This sheet Concludes the series of The Seven Deadly Sins-It also served as the frontispiece for the album of 1904
James Ensor Do nothing and Let Them Laugh
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1939
The Abundant Charm of this small,late work comes from its dynamism and vivid coloration.
James Ensor Souvenirs
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1926
Various authors have expressed the opinion that Ensor-s Creativity dissipated around 1900
James Ensor Demons Tormenting me
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1895
This hand-Colored etching is based on an 1888 drawing,a self-Portrait of Ensor surrounded by grotesque monsters who tug,prod,and beseech him.
James Ensor Poster for the Salon des Cent
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1898
Ensor obviously liked the idea of the artist resisting teasing demons,for he used this same image,this time in a vertical format.
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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