Artist James Ensor lived with his mother above a quaint little tourist shop in Ostend that you still can visit today. There he was visited by the crème de la crème of the international avant-garde of his days amongst which Wassili Kandinsky and Emil Nolde. Still running until 27 February 2011, he is now the centre of an extraordinary exhibition in Ghent, Belgium: ‘Hareng Saur - Ensor and contemporary art’.
Skeletons and skulls
Recent retrospective exhibitions in New York and Paris confirmed the international recognition of this eccentric artist. But in contrast with many other artists, the controversial art of James Ensor (1860-1949) was already recognized during his lifetime, if not by all critics. He however was and is still seen as one of the important pioneers of modern art. The title of this exhibition already gives a good idea of his eccentricity. It is taken from the title of one of his paintings: ‘Squelettes se disputant un hareng saur’ (Skeletons fighting over a pickled herring). But this herring can also be read as one of the extraordinary word games that Ensor liked to play: ‘hareng saur’ then becomes ‘art Ensor’.
Skeletons and skulls return regularly in the paintings of Ensor as it was his way of being highly critical about society. They are combined with a strong sense of humour and stratification of meaning that obviously not always make it easy to read his work. On first view his paintings are just bright and colorful. But more than once the people depicted in his paintings are wearing masks, stressing the fact that most people play double roles in life.
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