A bit of a mess

The Spectator | October 4, 1997| | Copyright

An exhibition, ideally, should be the strongest possible display of an artist's work. That simple dictum, once put to me by a painter friend, seems obvious. But for various reasons - it doesn't always turn out like that. Sadly, the James Ensor exhibition, Theatre of Masks, at the Barbican is a demonstration of what can go wrong when the emphasis falls not on the strongest work, but far too often on the weakest.

Ensor (1860-1949) was a unique and fascinating talent, and his career proceeded in an accordingly unconventional fashion. Broadly speaking, he started off as a sombre realist. In ...

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