All James Ensor Oil Paintings

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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James Ensor Skeleton i the studio oil on canvas


Skeleton i the studio
Skeleton i the studio
Painting ID::  37502 		  mk1260 1900 Here,as in skeletons trying to warm themselves of 1889,we are in the artist-studio.this time,however,the space is not bare,but full of masks,curios,books,palettes,utensils,folders full of painting,and even a coffee grinder sitting on a perfectly ordinary chair.
  mk1260 1900 Here,as in skeletons trying to warm themselves of 1889,we are in the artist-studio.this time,however,the space is not bare,but full of masks,curios,books,palettes,utensils,folders full of painting,and even a coffee grinder sitting on a perfectly ordinary chair.

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James Ensor Masks Watching a Negro Minstrel oil on canvas


Masks Watching a Negro Minstrel
Masks Watching a Negro Minstrel
Painting ID::  37503 		  mk126 ca.1878-79 This is an early work,which dates from Ensor-s Brussels period.it could easily be an academic teaching piece on the paintng of live Models.
  mk126 ca.1878-79 This is an early work,which dates from Ensor-s Brussels period.it could easily be an academic teaching piece on the paintng of live Models.

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James Ensor Old Woman with Masks oil on canvas


Old Woman with Masks
Old Woman with Masks
Painting ID::  37504 		  mk126 1889 As he had already with Masks watching a negro minstrel.Ensor added the masked figures to this painting at a later time.
  mk126 1889 As he had already with Masks watching a negro minstrel.Ensor added the masked figures to this painting at a later time.

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James Ensor Masks Confronting Death Or Masks Mocking Death oil on canvas


Masks Confronting Death Or Masks Mocking Death
Masks Confronting Death Or Masks Mocking Death
Painting ID::  37505 		  mk126 1888 The skeleton and it-s pendant the mask haunt Ensor-sbest-known pictures.
  mk126 1888 The skeleton and it-s pendant the mask haunt Ensor-sbest-known pictures.

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James Ensor The Great Judge oil on canvas


The Great Judge
The Great Judge
Painting ID::  37508 		  mk126 1898 The Judge is set in the center of the canvas. Gathered around him are various bewildered-looking
  mk126 1898 The Judge is set in the center of the canvas. Gathered around him are various bewildered-looking

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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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