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.  Related Paintings of James Ensor :. | Portrait of the Artist Sur rounded by Masks | White and Red Clowns Evolving | Portrait of the Artist Sur-Rounded by Masks (mk09) | The Cathedral | James Ensor in his studio,Painting the entry of Christ into Brussels |
Related Artists:
David Luders
David Luders (1710-1759), German painter
Francis Coates Jones
1857-1932
Edmund Blair Leighton
1853-1922 British Leighton was the son of the artist Charles Blair Leighton. He was educated at University College School, before becoming a student at the Royal Academy Schools. He married Katherine Nash in 1885 and they went on to have a son and daughter. He exhibited annually at the Royal Academy from 1878 to 1920. Leighton was a fastidious craftsman, producing highly-finished, decorative pictures. It would appear that he left no diaries, and though he exhibited at the Royal Academy for over forty years, he was never an Academician or an Associate.