- Zustand: Flugpostbrief nach Österreich
- Jahr: 5. April 2007
- Zustand: sehr sauber, beautiful, reine Mehrfachfrankatur
James Sidney Ensor (*
13.
April 1860 in
Ostende; †
19. November 1949 ebenda)
war ein
belgischer Maler
und Zeichner, der neben
Gemälden auch eine Vielzahl von
Radierungen und
Kaltnadelarbeiten schuf. Ensor ist dem
Symbolismus zuzuordnen und
wird auch als Vorläufer des
Expressionismus angesehen. Bekannt wurde er
aber als der „Maler der
Masken. Der
Vater des Künstlers, James Frederic Ensor, war englischer Herkunft.
Er versuchte, in Amerika sein Glück zu machen, scheiterte und
endete als stadtbekannter Säufer. Die Mutter, Maria Catharina
Haegheman, war Flämin und betrieb einen kleinen Laden mit
Geschenkartikeln und auch Karnevalsmasken, die später in Ensors
Werk eine große Rolle spielen sollten.Er verließ die Schule im
Alter von 15 Jahren und ging bei Malern in die Lehre, ehe er 1876
die Akademie der Schönen Künste in Ostende besuchte. Ensor
studierte von 1877 bis 1880 an der Kunstakademie in
Brüssel, wo
Fernand Khnopff sein Mitschüler war, brach
das Studium dann aber ab, da er nach eigener Aussage das Kopieren
der alten Meister als wenig kreativitätsfördernd empfand. 1880
kehrte er nach Ostende zurück, wo er sich die meiste Zeit seines
Lebens aufhielt. 1881 hatte Ensor seine erste Ausstellung. Den
Höhepunkt seiner Popularität erreichte er in den späten 1920er
Jahren, wo ihm mehrere große Ausstellungen in Deutschland und Paris
gewidmet wurden. 1929 erhielt er von König Albert den Titel eines
Barons. Sein Grab befindet sich auf dem Dünenfriedhof von
Ostende.
James Sidney Edouard, Baron Ensor (13 April
1860 – 19 November 1949) was a
Belgian
painter and
printmaker, an important influence on
expressionism and
surrealism who lived in
Ostend for
almost his entire life. He was associated with the artistic group
Les
XX. While Ensor's early works, such as
Russian Music
(1881) and
The Drunkards (1883), depict realistic scenes
in a somber style, his palette subsequently brightened and he
favored increasingly bizarre subject matter. Such paintings as
The Scandalized Masks (1883) and
Skeletons Fighting
over a Hanged Man (1891) feature figures in grotesque masks
inspired by the ones sold in his mother's gift shop for Ostend's
annual Carnival. Subjects such as
carnivals,
masks,
puppetry, skeletons, and fantastic
allegories are dominant in Ensor's mature work.
Ensor dressed skeletons up in his studio and arranged them in
colorful, enigmatic tableaux on the canvas, and used masks as a
theatrical aspect in his
still lifes. Attracted by masks' plastic forms,
bright colors, and potential for psychological impact, he created a
format in which he could paint with complete freedom.
The
four years between 1888 and 1892 mark a turning point in Ensor's
work. Ensor turned to religious themes, often the torments of
Christ. Ensor interpreted religious themes as a personal disgust
for the inhumanity of the world. In 1888 alone, he produced
forty-five etchings as well as his most ambitious painting, the
immense
Christ's Entry Into
Brussels in 1889. Also known as
Entry of Christ into
Brussels, it is considered "a forerunner of twentieth-century
Expressionism." In this composition, which
elaborates a theme treated by Ensor in his drawing
Les Aureoles
du Christ of 1885, a vast carnival mob in grotesque masks
advances toward the viewer. Identifiable within the crowd are
Belgian politicians, historical figures, and members of Ensor's
family. Nearly lost amid the teeming throng is Christ on his
donkey; although Ensor was an atheist, he identified with Christ as
a victim of mockery. The piece, which measures 99½ by 169½ inches,
was rejected by
Les XX and was not publicly displayed until
1929. After its controversial export in the 1960s, the painting is
now at the
J. Paul Getty Museum in
Los
Angeles. As Ensor achieved belated recognition in the final
years of the 19th century, his style softened and he painted less.
Critics have generally seen Ensor's last fifty years as a long
period of decline. The aggressive sarcasm and scatology that had
characterized his work since the mid-1880s was less evident in his
few new compositions, and much of his output consisted of mild
repetitions of earlier works. Significant works of Ensor's late
period include
The Artist's Mother in Death (1915), a
subdued painting of his mother's deathbed with prominent medicine
bottles in the foreground, and
The Vile Vivisectors
(1925), a vehement attack on those responsible for the use of
animals in medical experimentation.
James Ensor, né le 13 avril 1860 à
Ostende (Belgique) et mort dans cette ville le 19 novembre 1949, est un
artiste-peintre belge.
Ensor adhère aux mouvements d'avant-garde du début du XXe siècle, et laisse une
œuvre expressionniste originale. En 1883, il est
un des membres fondateurs du groupe bruxellois d'avant-garde Les Vingt.
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