Baron James Ensor Ensor

James Ensor Ensor, Baron , 1860-1949, Belgian painter and etcher. Ensor's imagery reflected one of the most bizarre and powerful visions of his era. He left his native Ostend to study painting (1877-80) at the Académie de Bruxelles. In Brussels he became one of the original members of "Les XX," a group of avant-garde artists, writers, and musicians. Ensor exhibited with them regularly until 1888, when his pictures, particularly the Entry of Christ into Brussels, were rejected as scandalous. While the public and press were at first hostile to his work, his paintings continued to be exhibited, and he gradually won worldwide acclaim. In 1929, Ensor was made a baron by King Albert. His home in Ostend became a museum after his death. His early style of painting is characterized by somber color, thick impasto, and an earthy realism with occasional hints of the fantastic. Toward 1883 his palette lightened, and by 1887 his paintings were flooded with intense light and strong color. From 1887 to 1900 he produced his most inventive and original work. Ensor's sources included the grotesque fantasies of Bosch, Bruegel, and Callot. Among his masterpieces is The Temptation of St. Anthony (Mus. of Modern Art, New York City). By 1900 the significant part of his work was finished; during the last 50 years of his life his paintings show hesitant draftsmanship and an absence of internal structure. Ensor ranks as one of the great innovators of the late 19th cent.; his art transformed reality, opening the way for surrealism .

Bibliography: See J. Elesh, ed., James Ensor: The Complete Graphic Works (2 vol., 1981); D. Lesko, James Ensor: The Creative Years (1985).

Ensor, James (b Ostend, 13 Apr. 1860; d Ostend, 19 Nov. 1949). Belgian painter and etcher (his father was English and he had British nationality until 1929). One of the most original artists of his time, Ensor had links with Symbolism, was a major influence on Expressionism, and was claimed by the Surrealists as a forerunner, but his work defies classification within any school or group. Apart from a period studying at the Academy in Brussels, 1877–80, and a few brief trips abroad, he rarely left his home town of Ostend, where his parents kept a souvenir shop. His early works were mainly bourgeois interiors painted in a thick and vigorous technique. When several were rejected by the Salon in Brussels in 1883, Ensor joined the progressive group Les Vingt. From about this time his subject matter changed and he began to introduce the fantastic and macabre elements that are chiefly associated with his name. He made much use of carnival masks, grotesque figures, and skeletons, his bizarre and monstrous imaginings recalling the work of his Netherlandish forebears Bosch and Bruegel. The interest in masks probably originated in his parents' shop, but he was also one of the first European artists who appreciated African art, in which they play such a great part. Through his ‘suffering, scandalized, insolent, cruel, and malicious masks’, as he called them, he portrayed life as a kind of hideous carnival. Often his work had a didactic or satirical flavour involving social and religious criticism; his most famous painting, the huge Entry of Christ into Brussels (1888, Getty Mus., Los Angeles), shows how he imagined Christ might be greeted on a new Palm Sunday. It provoked such an outburst of criticism among his associates in Les Vingt (who refused it for exhibition) that he was almost expelled from the group.

From this time Ensor became something of a recluse and his work became even more misanthropic. Nevertheless, from about the turn of the century his reputation grew rapidly, and in 1903 he was made a knight of the Order of Leopold. The culmination of his career came in 1929, when the inaugural exhibition of the Palais des Beaux-Arts in Brussels was devoted to his work (the Entry of Christ into Brussels was shown in public for the first time) and he was created a baron by King Albert. His work changed little after about 1900, however, and he was content to repeat his favourite themes. From 1904 he also gave up printmaking (he was one of the greatest etchers of his time and also made lithographs). There is a museum of his work in Ostend.