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James Ensor Oil Painting Reproductions
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James Ensor the damsel in distress oil


James Ensor
the damsel in distress
Painting ID::  56305
new20/James Ensor-354673.jpg 		the damsel in distress
mk247 1882,oil on canvas,39.5x31.375 in,100.5x79.5 cm,musee d orsay,paris,france
   
   
     
James Ensor christ s triumphant entry into brussels in 1889 oil


James Ensor
christ s triumphant entry into brussels in 1889
Painting ID::  56325
new20/James Ensor-632239.jpg 		christ s triumphant entry into brussels in 1889
mk247 1888,oil on canvas,99.5x169.5 in,252x431 cm,j.paul getty museum,los angeles,ca,usa
   
   
     
James Ensor flicka med docka oil


James Ensor
flicka med docka
Painting ID::  67521
new23/James Ensor-946469.jpg 		flicka med docka
1884 se
   
   
     
James Ensor intrigen oil


James Ensor
intrigen
Painting ID::  67822
new23/James Ensor-574578.jpg 		intrigen
1890 se
   
   
     
James Ensor The Rower oil


James Ensor
The Rower
Painting ID::  94229
new26/James Ensor-345546.jpg 		The Rower
painting: 1883. cjr
   
   
     
James Ensor Christ's Entry into Brussels oil


James Ensor
Christ's Entry into Brussels
Painting ID::  94230
new26/James Ensor-393786.jpg 		Christ's Entry into Brussels
1889. Painting cjr
   
   
     
James Ensor Christs Entry Into Brussels in 1889 oil


James Ensor
Christs Entry Into Brussels in 1889
Painting ID::  95128
new26/James Ensor-388563.jpg 		Christs Entry Into Brussels in 1889
1888 Type Oil on canvas Dimensions 253 cm x 431 cm cyf
   
   
     
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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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