24. ENSOR, James
The Intrigue (detail)
1890
Oil On Canvas, 90 x 150 cm
Koninklijk Museum voor Schone
Kunsten, Antwerp
25. ENSOR, James
The Intrigue (detail)
1890
Oil On Canvas, 90 x 150 cm
Koninklijk Museum voor Schone
Kunsten, Antwerp
26. ENSOR, James
The Intrigue (detail)
1890
Oil On Canvas, 90 x 150 cm
Koninklijk Museum voor Schone
Kunsten, Antwerp
27. ENSOR, James
The Intrigue (detail)
1890
Oil On Canvas, 90 x 150 cm
Koninklijk Museum voor Schone
Kunsten, Antwerp
28. ENSOR, James
The Intrigue (detail)
1890
Oil On Canvas, 90 x 150 cm
Koninklijk Museum voor Schone
Kunsten, Antwerp
29.
30. ENSOR, James
Skeletons Trying To Warm Themselves
1889
Oil on canvas, 74.8 x 60 cm
Kimbell Art Museum, Fort Worth, Texas
31. ENSOR, James
Skeletons Trying To Warm Themselves (detail)
1889
Oil on canvas, 74.8 x 60 cm
Kimbell Art Museum, Fort Worth, Texas
32. ENSOR, James
Skeletons Trying To Warm Themselves (detail)
1889
Oil on canvas, 74.8 x 60 cm
Kimbell Art Museum, Fort Worth, Texas
33. ENSOR, James
Skeletons Trying To Warm Themselves (detail)
1889
Oil on canvas, 74.8 x 60 cm
Kimbell Art Museum, Fort Worth, Texas
34. ENSOR, James
Skeletons Trying To Warm Themselves (detail)
1889
Oil on canvas, 74.8 x 60 cm
Kimbell Art Museum, Fort Worth, Texas
35. ENSOR, James
Skeletons Trying To Warm Themselves (detail)
1889
Oil on canvas, 74.8 x 60 cm
Kimbell Art Museum, Fort Worth, Texas
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37. ENSOR, James
Skeletons Trying To Warm Themselves
Belonging to a group of closely related paintings from the late 1880s, the enigmatic Skeletons Warming Themselves is among
the artist’s masterpieces. He has placed three dressed-up skeletons in the foreground around a stove on which is written “Pas
de feu” and under it “en trouverez vous demain?”—“No fire. Will you find any tomorrow?” The skeletons are accompanied by a
palette and brush, a violin, and a lamp.
Presumably Ensor intended these items to symbolize art, music, and literature. If so, the probable implication is that artistic
inspiration, or patronage to support it, has expired. Understood as a scene in an artist’s studio, Skeletons Warming Themselves
resembles a vignette from the popular medieval and early Renaissance print cycles of the Dance of Death, each print portraying
skeletons as an allegorical comment on the vanities of a particular profession or social type.
X-radiographs reveal another finished picture beneath this scene. It is a bust-length portrait of a young girl, probably painted
before 1883. Ensor’s reuse of an earlier canvas may reflect his own difficult economic condition in 1889.
38. ENSOR, James
The Intrigue
James Ensor, along with Vincent van Gogh and Edvard Munch, is considered a pioneer of Expressionism. But as a creator of
fantastic and bizarre images such as The Intrigue, Ensor reveals his kinship to old masters of the bizarre such as Hieronymus
Bosch and Pieter Brueghel the Elder. Here, the artist depicted his sister, Mariette in blue hair and green cape, with her top-hatted
fiancé, Tan Hée Tseu, a Chinese art dealer from Berlin.
The couple's engagement had caused a scandal in the home town of the Ensor family, and the artist, in retaliation, depicts the
town gossips who, disguised in their masks, have come out to point, stare, and laugh at the couple.
39. ENSOR, James
The Assassination
An eccentric visionary, James Ensor created images that defy categorization. After two frustrating years at the Royal
Academy of Fine Arts in Brussels, he returned to his hometown of Ostend and set up a studio in the attic of his family's home
and souvenir shop. There he continued his education, studying Old Masters such as Breugel and Bosch, copying etchings by
Rembrandt and Goya, and making sketches depicting his family's disquieting domestic life.
The Assassination is based on Edgar Allan Poe's gothic tale The Facts in the Case of M. Valdemar of 1845, which tells the
gruesome story of a hypnotist trying to arrest the process of death by hypnotizing a dying man.
40. ENSOR, James
Masks Mocking Death (Masks Confronting Death
A group of masked figures confronts the figure of Death, centrally situated and draped in whitea color that infiltrates the
entire picture. Composed of masks adorned with drapery, hats, and even blue glasses, the arrangement of figures recalls
Ensor's earlier still-life compositions.
The ubiquitous masks in Ensor's work were likely based on those sold in his family's curiosity shop a few floors below his
studio. He explained, "The mask means to me: freshness of color, sumptuous decoration, wild unexpected gestures, very
shrill expressions, exquisite turbulence." In this painting, the fantastical masked inventions appear to come alive and
challenge Death—perhaps a reflection of the artist's preoccupation with mortality and his hope that he might prevail against
its inevitable dominion.
41. ENSOR, James Sidney Edouard, Baron
Belgian painter, printmaker and draughtsman. Trained in Brussels, he spent most of his
life in his native Ostend. In 1883 he joined a group known as Les Vingt (The Twenty) and
began depicting skeletons, phantoms, masks, and other images of grotesque fantasy as
social commentary. His Entry of Christ into Brussels (1888), painted in smeared, garish
colours, provoked outrage.
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.