James ENSOR 1860 - 1949
James Ensor was the son of a Belgian mother and an English father.
He was an acknowledged master by the time he was 20 years old. After a youthful infatuation with the art of Rembrandt and Peter Paul Rubens, he adopted the vivacious brushstroke of the French Impressionists.
When Ensor’s works were rejected by the Brussels Salon in 1883, he joined a group of progressive artists called Les Vingt (The Twenty). During this period, in such works as his Scandalized Masks (1883), he began to depict images of grotesque fantasy—skeletons, phantoms, and hideous masks.
Ensor’s interest in masks probably began in his mother’s curio shop. His Entry of Christ into Brussels (1888), filled with carnival masks painted in smeared, garish colours, provoked such indignation that he was expelled from Les Vingt.
Ensor, nevertheless, continued to paint such nightmarish visions as Masks (Intrigues) (1890) and Skeletons Fighting for the Body of a Hanged Man (1891). As criticism of his work became more abusive, the artist became more cynical and misanthropic, a state of mind given frightening expression in his Portrait of the Artist Surrounded by Masks. He finally became a recluse and was seldom seen in public.
After 1900 Ensor’s art underwent little change. In 1929, his Entry of Christ into Brussels was first exhibited publicly.