James Ensor

James Ensor PDF

Author: Patricia G. Berman

Publisher: Getty Publications

Published: 2002

Total Pages: 120

ISBN-13: 9780892366415

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The brash young artist James Ensor painted Christ's Entry into Brussels in 1889 during a period of extraordinary artistic and political fomentation in his native Belgium. It is one of the most dazzling, innovative, and perplexing paintings created in Europe in the late nineteenth century, rivaling any work of its period in audacity and ambition. Huge in scale, complex in design and execution, and brimming with social commentary, the startling canvas presents a scene filled with clowns, masked figures, and--barely visible amid the swirling crowds--the tiny figure of Christ on a donkey entering the city of Brussels. This insightful volume examines the painting in light of Belgium's rich artistic, social, political, and theological debates in the late nineteenth century, and in the context of James Ensor's exceptional career, in order to decipher some of the painting's messages and meanings.

James Ensor

James Ensor PDF

Author: Xavier Tricot

Publisher: Petraco-Pandora

Published: 2020

Total Pages: 0

ISBN-13: 9789053254660

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During 1889, Belgian artist James Ensor (1860-1949) painted a monumental canvas that would be his magnum opus: 'The Entry of Christ into Brussels in 1889'. The work is one of the most complex paintings ever painted. It is only forty years after its completion that the monumental canvas was first publicly exhibited at the James Ensor retrospective at the Brussels Palais des Beaux-Arts in 1929. Needless to say, therefore, that the exhibiting of Ensor's work in 1929 was for many a revelation. Until then it had been seen and was known only to a limited group of visitors and insiders.00Between 1889 and 1929, a veritable revolution had taken place in the visual arts. Before and during World War I, Fauvism, Cubism, Futurism, Expressionism, and Dadaism all came into being. Few explanations can accommodate the full daring and frenzy of such a painting which chaotic composition and barbaric style seem revolutionary, and look far beyond the early twentieth century. Since the purchase of the work in 1987 by the J. Paul Getty Museum (Los Angeles), The Entry has acquired cult status. No other work depicts the notion of belgitude so aptly as 'The Entry of Christ into Brussels in 1889', and yet the painting can in the first place be regarded as a somewhat quirky but striking representation of Ensor's vision of humanity.

The Superhuman Crew

The Superhuman Crew PDF

Author: James Ensor

Publisher: Getty Publications

Published: 1999

Total Pages: 40

ISBN-13: 9780892365524

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"The Superhuman Crew" brings together two visionary works of art--Ensor's masterpiece, "Christ's Entry intro Bussels in 1889" and Dylan's "Desolation Row"--in a surprising, thought-provoking format. 48 color illustrations.

James Ensor

James Ensor PDF

Author: Anna Swinbourne

Publisher: The Museum of Modern Art

Published: 2009

Total Pages: 214

ISBN-13: 9780870707520

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Edited by Anna Swinbourne. Text by Anna Swinbourne, Susan Canning, Michel Draguet, Robert Hoozee, Laurence Madeline, Jane Panetta, Herwig Todts.

Masterpieces of the J. Paul Getty Museum: Decorative Arts

Masterpieces of the J. Paul Getty Museum: Decorative Arts PDF

Author: Charissa Bremer-David

Publisher: Getty Publications

Published: 1997-11-13

Total Pages: 130

ISBN-13: 0892364556

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This beautifully illustrated work brings together more than one hundred objects from the J. Paul Getty Museum’s collection of European decorative arts. Included here is a generous selection of French and Italian furniture from the mid-sixteenth to the early nineteenth century. Masterpieces by André-Charles Boulle, Bernard (II) van Risenburgh, and others reveal the virtuoso craftsmanship that makes these objects such compelling examples of the furniture maker’s art. Many of the Museum’s finest pieces of porcelain, glass, and tin-glazed earthenware are also represented. Tapestries from Gobelins and Beauvais, bronze firedogs from Fontainebleau, and a lathe-turned ivory goblet of astonishing complexity from Saxony are among the other highlights of this handsome volume.

Doctrinal Nourishment

Doctrinal Nourishment PDF

Author: Theresa Papanikolas

Publisher:

Published: 2009

Total Pages: 96

ISBN-13:

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A sharp send-up of authoritarian hubris--in which bloated, self-satisfied, bare-bottomed public officials excrete a foul diet literally to be swallowed by the masses--the etching "Doctrinal Nourishment" (1889/95) is one of Belgian artist James Ensor's most politically scathing works. Through a close reading of this print in its political context, curator Theresa Papanikolas traces how Ensor's youthful immersion in Belgian anarchist circles led him to develop violent and grotesque imagery through which he hoped to expose the incompetence of unchecked authority and indict a society in crisis. This well-illustrated volume also puts Ensor's work into art-historical context by juxtaposing examples of French Romanticism, German Expressionism and Dada by a variety of artists, including Honoré Daumier, Félicien Rops, George Grosz and Otto Dix.

A Brief History of the Masses

A Brief History of the Masses PDF

Author: Stefan Jonsson

Publisher: Columbia University Press

Published: 2008

Total Pages: 266

ISBN-13: 9780231145268

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Stefan Jonsson uses three monumental works of art to build a provocative history of popular revolt: Jacques-Louis David's The Tennis Court Oath (1791), James Ensor's Christ's Entry into Brussels in 1889 (1888), and Alfredo Jaar's They Loved It So Much, the Revolution (1989). Addressing, respectively, the French Revolution of 1789, Belgium's proletarian messianism in the 1880s, and the worldwide rebellions and revolutions of 1968, these canonical images not only depict an alternative view of history but offer a new understanding of the relationship between art and politics and the revolutionary nature of true democracy. Drawing on examples from literature, politics, philosophy, and other works of art, Jonsson carefully constructs his portrait, revealing surprising parallels between the political representation of "the people" in government and their aesthetic representation in painting. Both essentially "frame" the people, Jonsson argues, defining them as elites or masses, responsible citizens or angry mobs. Yet in the aesthetic fantasies of David, Ensor, and Jaar, Jonsson finds a different understanding of democracy-one in which human collectives break the frame and enter the picture. Connecting the achievements and failures of past revolutions to current political issues, Jonsson then situates our present moment in a long historical drama of popular unrest, making his book both a cultural history and a contemporary discussion about the fate of democracy in our globalized world.

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