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The magnificent world of James Ensor filmed in his house in Ostend

Mardi Gras in Art The greatest Mardi Gras painting ever is by James Ensor (click the painting to see a larger version). James Ensor, Christ’s Entry into Brussels in oil on canvas.

James Ensor >> Carnival in Flanders

Carnival in Flanders, Oil by James Ensor (Fine Art Framed Giclee James Ensor)

Ensor, James "La intriga" Pintor de escenas macabras y sarcásticas llenas de simbolismo que tematizan la soledad del hombre.

Ensor, James "La intriga" Pintor de escenas macabras y sarcásticas llenas de simbolismo que tematizan la soledad del hombre.

[ E ] James Ensor - Christ's Entry Into Brussels (1888) - Detail (The General) | by Cea.

James Ensor - Christ's Entry Into Brussels - Detail (The General)

JAMES ENSOR  Souvenirs (1926)

Souvenirs - James Ensor 1926 Belgian - Yves Saint Laurent’s Paris Duplex The Drawing Room, and a James Ensor painting: The Despair of Pierrot, Yves Saint Laurent’s Paris Duplex

james ensor

The Bad Doctors, 1892 James Sidney Edouard Baron-Ensor – Belgian "The Bad Doctors" by James Ensor satirizes practitioners of medicinal.

The dark side of Belle Epoque #Art http://esotericsynapticevents.blogspot.com/2017/01/the-dark-side-of-belle-epoque.html

The main body of James Ensor’s work deals with the mystery of existence and very often underscores the absurdity of man’s folly and fate – Jan Cox on James Ensor, Boston 1959

La piccola figura di Cristo è quasi invisibile di fronte a questo corteo carnascialesco. Si trova al centro del dipinto ed è completamente ignorato da coloro che lo acclamano “Re di Bruxelles”. Egli rappresenta due temi fondamentali per Ensor. Innazitutto l’allontamento dell’uomo dai valori del Vangelo. E, l’emarginazione dell’artista e il rifiuto della sua funzione moralizzatrice da parte della società. Guardando attentamente è possibile vedere un autoritratto di Ensor nel volto del Messia.

L’entrata di cristo a Bruxelles nel 1889

Christ's Entry into Brussels in 1889 (crowds detail)

1891. James Ensor, Skeletons Fighting Over a Hanged Man Tenets: 1.Progress is an illusion-you are always fighting, always trying to go somewhere but it is impossible to reach it, just like the man and the skeletons are 2.Alienation-he is cut off from the world, now with the skeletons rather than the people of the world, maybe figuratively died 3.Spiritual confrontation with emptiness-by facing the emptiness now, he will later be able to return to the real world

James Ensor – The innovator of 19. century art

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