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 :. | Still life with Blue Vase and Fan | The Lady in Distress | Tribute Money | The Annunciation of the Magi | The Baths of Ostend |
Related Artists:
Cornelia Kuemmel
1863-1938
David Johnson
American Landscape painter. b.1827 d.1908 was a member of the second generation of Hudson River School painters. He was born in New York City, New York. He studied for two years at the antique school of the National Academy of Design. He also studied briefly with the Hudson River artist Jasper Francis Cropsey. Along with John Frederick Kensett and John William Casilear, he was best known for the development of Luminism. By 1850, Johnson was exhibiting regularly at the National Academy of Design in New York, where he became an associate in 1860.
Elias Martin
Swedish Painter, 1739-1818,Painter and engraver. After training in his father joinery shop and with the painter Friedrich Schultz (1709-69), he was engaged to design ornamentation for ships of the coastal fleet at Sveaborg (Finland). There he also taught drawing to the son of Field Marshal Count Augustin Ehrensv?rd (1710-72) while himself learning printmaking techniques from the Field Marshal. During this period Martin produced accurate studies of Finland coastal scenery and the Sveaborg fortress (e.g. Stockholm, Nmus.), as well as purely imaginary landscapes based on engravings. In 1766 he went to Paris and with Alexander Roslin help was able to study under Joseph Vernet at the Acad?mie Royale de Peinture et de Sculpture. A direct result of his studies was a View of Paris from the Quay Beneath the Pont Neuf (1766-7; Stockholm, Nmus.).