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.  Related Paintings of James Ensor :. | The Wise judges | Still life with Blue Jar | The Hippogryph | The Girl with Masks | Louis Xiv Playing Billiards |
Related Artists:
Sigmund Freudenberger
Swiss, 1745-1801,Swiss painter, draughtsman and engraver. In 1761 he went to work for the portrait painter Emanuel Handmann in Basle, where he stayed for three years. In 1765, with Adrian Zingg (1734-86), he left for Paris, where he trained with Jakob Schmutzer (1733-1811) and frequented the studio of Jean Georges Wille, the celebrated engraver. He worked as a book illustrator during this period. The work of Boucher, whom he met, and of Greuze and Fragonard had a significant influence on his artistic development. Freudenberger returned in 1773 to Berne, where he undertook several portraits. He became friendly with Johann Ludwig Aberli, with whom he travelled the countryside, which he recorded in numerous drawings, watercolours and engravings. He specialized in genre scenes, rustic still-lifes and portrayals of Bernese peasant life, which became very popular. In some works, such as a red chalk drawing of A Woman Playing the Harp (1778; Zurich, Schweizer. Landesmus.), he continued the gallant style he had learnt from Boucher. His watercolours were frequently engraved, either individually or in series, and hand-coloured. His style is characterized by detailed and careful execution and by an intimate, narrative approach, although he tended to idealize his rustic subject-matter. His work was significant in introducing genre subjects in Switzerland, where artists had tended to concentrate on pure landscape. He ran a large studio where Daniel Lafond (1763-1831), Niklaus Kenig and Georg Mind (1768-1814) were pupils. The French Revolution was disastrous for his art and his business and clouded the last years of his life.
Frank O-Meara
1853-1888
Henry Redmore
Henry Redmore was born in Hull in 1820. He lived his whole life in the North East of England, with his studio in Hull. Along with John Ward, Redmore was one of the best painters of the Hull School, although the two artists had distinctly different techniques