VERSCHAFFEL Bart, TAEVERNIER Sabine, HUYGEBAERT Stefan, BOX Gregory.
James Ensor and still life in Belgium (1830-1930): Rose, Rose, Rose to my eyes.
Mercator Fund
Regular price
€45,00
| N° d'inventaire | 30343 |
| Format | 21 x 26 |
| Détails | 192 p., illustrated, paperback. |
| Publication | Brussels, 2023 |
| Etat | Nine |
| ISBN | 9789462303614 |
The still life genre played a pivotal role in the work of James Ensor (1860–1949). Initially trained in the Impressionist and Symbolist movements, the Belgian avant-garde painter gradually expanded his field of experimentation, becoming a key precursor to Expressionism. His artistic ingenuity proved instrumental in the still life revival movement in Belgium, which had declined by the early 19th century, becoming a minor genre with purely decorative and content-free purposes.
Throughout his long career, Ensor profoundly influenced many artists who, from 1880 onwards, moved towards modernism. This catalogue and the accompanying exhibition offer an exceptional journey in Ensor's footsteps through the history of still life in Belgium from 1830 to 1930. In addition to an analysis of this genre in the work of the Ostend master, this work explores the academic tradition of Belgian decorative painting in the 19th century and the renewal of still life painting at the beginning of the following century by artists such as Léon Spilliaert, Jean Brusselmans and Gustave Van De Woestyne.
Throughout his long career, Ensor profoundly influenced many artists who, from 1880 onwards, moved towards modernism. This catalogue and the accompanying exhibition offer an exceptional journey in Ensor's footsteps through the history of still life in Belgium from 1830 to 1930. In addition to an analysis of this genre in the work of the Ostend master, this work explores the academic tradition of Belgian decorative painting in the 19th century and the renewal of still life painting at the beginning of the following century by artists such as Léon Spilliaert, Jean Brusselmans and Gustave Van De Woestyne.
Throughout his long career, Ensor profoundly influenced many artists who, from 1880 onwards, moved towards modernism. This catalogue and the accompanying exhibition offer an exceptional journey in Ensor's footsteps through the history of still life in Belgium from 1830 to 1930. In addition to an analysis of this genre in the work of the Ostend master, this work explores the academic tradition of Belgian decorative painting in the 19th century and the renewal of still life painting at the beginning of the following century by artists such as Léon Spilliaert, Jean Brusselmans and Gustave Van De Woestyne.