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James Ensor
Edited by Anna Swinbourne. Text by Anna Swinbourne, Susan Canning, Michel Draguet, Robert Hoozee, Laurence Madeline, Jane Panetta, Herwig Todts.
James Ensor, 1860-1949
It was never a sure thing that James Ensor, the great Belgian painter of macabre and ghoulish scenes, would become a nationally revered figure. James Ensor was unusual in many ways. Apart from his training in Brussels, he spent his entire long life in Ostend, seemingly the opposite of cosmopolitan. Later on he was expelled by the group Les XX for a particularly controversial canvas: The Entry of Christ into Brussels, which he had painted in 1889. An expressionist before the term was coined, he used the iconography of masks and skeletons to point up the essential horrors of life, and often underwrote his images with a sardonic gallows humour. It has been said that he appropriated the subject matter of a Bosch or Bruegel and revisioned them using the techniques of Manet or Rubens. But this is to diminish his own unique take on both art and experience. A genuine maverick in the way that so many Belgian artists are (lest we forget Magritte), James Ensor can claim a dark and distinctive place in the art histories of the last hundred years.
The Social Context of James Ensor’s Art Practice
“Vive la Sociale”: This rousing, revolutionary statement, written on a bright red banner across the top of James Ensor's Christ's Entry into Brussels in 1889, served as a visual manifesto and call to action by the Belgian artist (1860-1949), one that announced with an insistent, public voice the centrality of his art practice to the cultural discourse of modern Belgium. This provocative declaration serves as the title for this new study of Ensor's art focusing on its social discourse and the artist's interaction with and at times satirical encounter with his contemporary milieu. Rather than the alienated and traumatized Expressionist given preference in modern art history, Ensor is prese...
James Ensor
Catalog of first definitive showing in this country of the work of James Ensor, Belgian painter.
James Ensor
James Ensor~ISBN 3-7757-1703-X U.S. $60.00 / Hardcover, 9.5 x 11 in. / 288 pgs / 130 color and 110 b&w. ~Item / March / Art Reason is the enemy of art. --James Ensor
JAMES ENSOR
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
James Ensor
The brash young artist James Ensor painted Christ's Entry into Brussels in 1889 during a period of extraordinary artistic and political fomentation in his native Belgium. It is one of the most dazzling, innovative, and perplexing paintings created in Europe in the late nineteenth century, rivaling any work of its period in audacity and ambition. Huge in scale, complex in design and execution, and brimming with social commentary, the startling canvas presents a scene filled with clowns, masked figures, and--barely visible amid the swirling crowds--the tiny figure of Christ on a donkey entering the city of Brussels. This insightful volume examines the painting in light of Belgium's rich artistic, social, political, and theological debates in the late nineteenth century, and in the context of James Ensor's exceptional career, in order to decipher some of the painting's messages and meanings.
James Ensor
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James Ensor
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James Ensor
The brash young artist James Ensor painted Christ's Entry into Brussels in 1889 during a period of extraordinary artistic and political fomentation in his native Belgium. It is one of the most dazzling, innovative, and perplexing paintings created in Europe in the late nineteenth century, rivaling any work of its period in audacity and ambition. Huge in scale, complex in design and execution, and brimming with social commentary, the startling canvas presents a scene filled with clowns, masked figures, and--barely visible amid the swirling crowds--the tiny figure of Christ on a donkey entering the city of Brussels. This insightful volume examines the painting in light of Belgium's rich artistic, social, political, and theological debates in the late nineteenth century, and in the context of James Ensor's exceptional career, in order to decipher some of the painting's messages and meanings.
