COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0010637
image_record_id
aahi0010637
Image Record ID
false
Work Title (display):
Le Masque et la mort
Work Title (variant):
Masks and Death
Image Title:
full view
Work Dates (display):
1897
Work Dates type:
creation
Image Date (display):
2013-01-16
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:
Death
subject
Death
Work Subject
false
Work Subject:
grotesque
subject
grotesque
Work Subject
false
Work Subject:
male
subject
male
Work Subject
false
Work Subject:
musical instruments
subject
musical instruments
Work Subject
false
Work Subject:
figures
subject
figures
Work Subject
false
Work Subject:
masks (costume)
subject
masks (costume)
Work Subject
false
Work Subject:
female
subject
female
Work Subject
false
Work Subject:
skeletons
subject
skeletons
Work Subject
false
Work Subject:
reality
subject
reality
Work Subject
false
Work Subject:
carnivalesque
subject
carnivalesque
Work Subject
false
Work Worktype:
oil paintings
work_type
oil paintings
Work Worktype
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
oil on canvas
Work Location (Repository or Site) name:
Collection Liége-Musée des Beaux Arts
Work Location (Repository or Site) role:
owner
Image Source Reproduction citation:
Farmer, John D. Ensor. New York: G. Braziller, 1976. Print.
image_source_copy_from_print_name
Farmer, John D. Ensor. New York: G. Braziller, 1976. Print.
Image Source Reproduction citation
false
Image Source Reproduction refid:
ISBN 0-8076-0840-8
Image Source Reproduction plate-figure number:
Plate 42
Image Source Reproduction refid type:
ISBN
Image Rights (display):
© Liége-Musée des Beaux-Arts
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