COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0010121
image_record_id
aahi0010121
Image Record ID
false
Work Title (display):
The Cathedrale
Image Title:
full view
Work Dates (display):
1886
Work Dates type:
creation
Image Date (display):
2012-08-28
Work Creator (display):
James Ensor (Belgian, 1860-1949)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
Ensor was a visionary and proto-modernist artist whose use of color prefigured fauvism and expressionism, and whose use of fantastical, symbolist, and satirical imagery were to influence Paul Klee, Emil Nolde, and later the Cobra group. His most productive period was been 1880 and 1900, but he was not well known until the late 1920s. Although many of his works feature satirical fantasies, he also painted seascapes, landscapes, and still-lifes. He was self-taught in the art of copperplate etching and produced many masterful works in this medium. In both his graphical works and in his paintings he made use of the carnival masks sold in his family's shop in Ostend as models for figures in thronging crowd scenes, still lifes, and domestic tableaux. These works can be interpreted as critiques of the Catholic Church, the Belgian state, and society in general. His most well-known painting may be "Christ's Entry into Brussels," a large-scale work in which the title figure is dwarfed by a crowd of grotesques. He remained in Ostend for the majority of his life, leaving in 1877 at the age of 17 to study at the Académie Royale des Beaux Arts in Brussels. Upon his return to Ostend in 1879 he established a studio above his parents shop, where he produced the majority of his mature work. In 1883 he was a founding member of the Groupe des Vingt. During his lifetime Ensor's work was critiqued harshly by his contemporaries, even among the avant-garde group he helped found. (Getty Union List of Artists Name accessed 2007-10-17)
Work Style Period:
19th century
work_styleperiod
19th century
Work Style Period
false
Work Subject:
caricatures
subject
caricatures
Work Subject
false
Work Subject:
crowds
subject
crowds
Work Subject
false
Work Subject:
religion (discipline)
subject
religion (discipline)
Work Subject
false
Work Subject:
France (nation)
subject
France (nation)
Work Subject
false
Work Subject:
figures
subject
figures
Work Subject
false
Work Subject:
cathedrals
subject
cathedrals
Work Subject
false
Work Subject:
Christianity
subject
Christianity
Work Subject
false
Work Subject:
politics
subject
politics
Work Subject
false
Work Worktype:
etchings (prints)
work_type
etchings (prints)
Work Worktype
false
Work Worktype:
prints (visual works)
work_type
prints (visual works)
Work Worktype
false
Work Category (VRC classification):
prints
work_category__ucbaahvrc_classification_
prints
Work Category (VRC classification)
false
Work Material and Technique (display):
etching on Japanese paper
Work Location (Repository or Site) name:
Museum Plantin-Moretus
Work Location (Repository or Site) role:
repository
Work Location (Geographic) name:
Antwerp, Belgium
Image Source Reproduction citation:
Hoozee, Robert, Sabine Bown- Taevernier, Jan F. Heijbroek, Catherine Warnant, John Rossbach, and Marnix Vincent. James Ensor: Dessins Et Estampes. Antwerpen: Fonds Mercator, 1987. Print.
image_source_copy_from_print_name
Hoozee, Robert, Sabine Bown- Taevernier, Jan F. Heijbroek, Catherine Warnant, John Rossbach, and Marnix Vincent. James Ensor: Dessins Et Estampes. Antwerpen: Fonds Mercator, 1987. Print.
Image Source Reproduction citation
false
Image Source Reproduction refid:
9061531772
Image Source Reproduction page number:
218
Image Source Reproduction refid type:
ISBN
Image Rights (display):
unknown
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
public domain
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Collection
Collection info and contact:
For information about this collection, see