In the Bey-s Garden Asia Minor -32-
A Musician
big creating home house landscape not ou
watercolor painting
Still life of various flowers and grapes
BAUGIN, Lubin
The Sacrifice of Isaac
Portrait of Elisabeth Facobsdr.Bas -33-
BRAY, Jan de
The Bridge at Nantes
New England Landscape
The Basin of San Marco on Ascension Day
Le Dejeuner sur l-Herbe
Hampstead Heath looking to Harrwo
Les Peupliers
Twilight at Mt Merino
Peasant-s head
Christine Lerolle
Blessing Christ d
March
Mariamne leaving the Judgement Seat of H
BELLINI, Gentile
Santa Fe
Bathers with White Veils
oil on canvas
Forntispiece illustration for The Advent
Christ at the Column -detail-
Piney
George Frederick watts,O.M.,R.A.
symbolism
Eastman Johnson
BASSA, Ferrer
Rosso Fiorentino
Darmstadt Madonna -detail- sf
Thomas Girtin
Vue du petit Port de Lorient
Furiband with his Owner Sir Harry Harpur
Jerusalem from the Mount of Olives
Death of St Lucy
A barn interor with peasants drinking an
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James Ensor:
Belgian
1860-1949
Belgian painter, printmaker and draughtsman. No single label adequately describes the visionary work produced by Ensor between 1880 and 1900, his most productive period. His pictures from that time have both Symbolist and Realist aspects, and in spite of his dismissal of the Impressionists as superficial daubers he was profoundly concerned with the effects of light. His imagery and technical procedures anticipated the colouristic brilliance and violent impact of Fauvism and German Expressionism and the psychological fantasies of Surrealism. Ensor most memorable and influential work was almost exclusively produced before 1900, but he was largely unrecognized before the 1920s in his own country. His work was highly influential in Germany, however: Emil Nolde visited him in 1911, and was influenced by his use of masks; Paul Klee mentions him admiringly in his diaries; Erich Heckel came to see him in the middle of the war and painted his portrait (1930; Cologne, Wallraf-Richartz-Mus.); Alfred Kubin owned several of his prints, while Marc Chagall and George Grosz also adapted certain elements from Ensor. All the artists of the Cobra group saw him as a master. He influenced many Belgian artists including Leon Spilliaert, Rik Wouters, Constant Permeke, Frits van den Berghe, Paul Delvaux and Pierre Alechinsky.
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