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THE INTRIGUE
1890
James Sidney Edouard, Baron Ensor (13 April 1860 – 19 November 1949) was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for most of his life. He was associated with the artistic group Les XX.
Ensor's father, James Frederic Ensor, born in Brussels to English parents, was a cultivated man who studied engineering in England and Germany. Ensor's mother, Maria Catherina Haegheman, was Belgian. Ensor himself lacked interest in academic study and left school at the age of fifteen to begin his artistic training with two local painters. From 1877 to 1880, he attended the Académie Royale des Beaux-Arts in Brussels, where one of his fellow students was Fernand Khnopff. Ensor first exhibited his work in 1881. From 1880 until 1917, he had his studio in the attic of his parents' house. His travels were very few: three brief trips to France and two to the Netherlands in the 1880s, and a four-day trip to London in 1892.
During the late 19th century, much of Ensor's work was rejected as scandalous, particularly his painting Christ's Entry Into Brussels in 1889 (1888–89). The Belgian art critic Octave Maus famously summed up the response from contemporaneous art critics to Ensor's innovative (and often scathingly political) work: "Ensor is the leader of a clan. Ensor is the limelight. Ensor sums up and concentrates certain principles which are considered to be anarchistic. In short, Ensor is a dangerous person who has great changes. ... He is consequently marked for blows. It is at him that all the harquebuses are aimed. It is on his head that are dumped the most aromatic containers of the so-called serious critics." Some of Ensor's contemporaneous work reveals his defiant response to this criticism. For example, the 1887 etching "Le Pisseur" depicts the artist urinating on a graffitied wall declaring (in the voice of an art critic) "Ensor est un fou" or "Ensor is a Madman."
Ensor's paintings continued to be exhibited and he gradually won acceptance and acclaim. In 1895 his painting The Lamp Boy (1880) was acquired by the Royal Museums of Fine Arts of Belgium in Brussels, and he had his first solo exhibition in Brussels. By 1920 he was the subject of major exhibitions; in 1929 he was named a Baron by King Albert, and was the subject of the Belgian composer Flor Alpaerts's James Ensor Suite; and in 1933 he was awarded the band of the Légion d'honneur. Alfred H. Barr Jr., the founding director of the Museum of Modern Art in New York, after considering Ensor's 1887 painting Tribulations of Saint Anthony (now in MoMA's collection), declared Ensor the boldest painter working at that time.
Even in the first decade of the 20th century, however, Ensor's production of new works was diminishing, and he increasingly concentrated on music—although he had no musical training, he was a gifted improviser on the harmonium, and spent much time performing for visitors.Against the advice of friends, he remained in Ostend during World War II despite the risk of bombardment. In his old age, he was an honored figure among Belgians, and his daily walk made him a familiar sight in Ostend. He died there following a short illness, on 19 November 1949 at the age of 89.
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HET BURGERSALON
1910
James Sidney Edouard, Baron Ensor (13 April 1860 – 19 November 1949) was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for most of his life. He was associated with the artistic group Les XX.
Ensor's father, James Frederic Ensor, born in Brussels to English parents, was a cultivated man who studied engineering in England and Germany. Ensor's mother, Maria Catherina Haegheman, was Belgian. Ensor himself lacked interest in academic study and left school at the age of fifteen to begin his artistic training with two local painters. From 1877 to 1880, he attended the Académie Royale des Beaux-Arts in Brussels, where one of his fellow students was Fernand Khnopff. Ensor first exhibited his work in 1881. From 1880 until 1917, he had his studio in the attic of his parents' house. His travels were very few: three brief trips to France and two to the Netherlands in the 1880s, and a four-day trip to London in 1892.
During the late 19th century, much of Ensor's work was rejected as scandalous, particularly his painting Christ's Entry Into Brussels in 1889 (1888–89). The Belgian art critic Octave Maus famously summed up the response from contemporaneous art critics to Ensor's innovative (and often scathingly political) work: "Ensor is the leader of a clan. Ensor is the limelight. Ensor sums up and concentrates certain principles which are considered to be anarchistic. In short, Ensor is a dangerous person who has great changes. ... He is consequently marked for blows. It is at him that all the harquebuses are aimed. It is on his head that are dumped the most aromatic containers of the so-called serious critics." Some of Ensor's contemporaneous work reveals his defiant response to this criticism. For example, the 1887 etching "Le Pisseur" depicts the artist urinating on a graffitied wall declaring (in the voice of an art critic) "Ensor est un fou" or "Ensor is a Madman."
Ensor's paintings continued to be exhibited and he gradually won acceptance and acclaim. In 1895 his painting The Lamp Boy (1880) was acquired by the Royal Museums of Fine Arts of Belgium in Brussels, and he had his first solo exhibition in Brussels. By 1920 he was the subject of major exhibitions; in 1929 he was named a Baron by King Albert, and was the subject of the Belgian composer Flor Alpaerts's James Ensor Suite; and in 1933 he was awarded the band of the Légion d'honneur. Alfred H. Barr Jr., the founding director of the Museum of Modern Art in New York, after considering Ensor's 1887 painting Tribulations of Saint Anthony (now in MoMA's collection), declared Ensor the boldest painter working at that time.
Even in the first decade of the 20th century, however, Ensor's production of new works was diminishing, and he increasingly concentrated on music—although he had no musical training, he was a gifted improviser on the harmonium, and spent much time performing for visitors.Against the advice of friends, he remained in Ostend during World War II despite the risk of bombardment. In his old age, he was an honored figure among Belgians, and his daily walk made him a familiar sight in Ostend. He died there following a short illness, on 19 November 1949 at the age of 89.
Animals are at the centre of Franz Marc’s paintings. For him, they embodied an original state of harmony with creation. To illustrate their pure and peaceful nature, he often depicted them lying on the ground, sleeping. This painting shows his own dog, the white shepherd mix Russi. The work marks a stylistic shift away from lifelike renderings towards experimentation with colour and form. Here, he was particularly interested in how the perception of the white tones in the fur changes against the likewise white snow cover, and how the colours influence each other. The dog’s stylised form is inspired by the Cubists’ angular design, which Marc had previously seen in exhibitions.
The Opus Series of Doors are constructed of solid color acrylic backed with gray laminate. Opus has a matte finish and is available in three colors including white, red, and black. With an aluminum satin finish edge and two styles of integrated handles, Opus is great for coordinating with other cabinet styles to create unique interiors.
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Oil on canvas
by Milton Avery
Taken in the Exhibition
By 1926 Avery was living in New York and working full-time as an artist. Avery took advantage of the access to art offered by the city, and he and his wife, Sally, spent every Saturday visiting galleries and museums. In 1929 the Museum of Modern Art opened, allowing Avery’s interest in European Modernism to grow as he saw more examples of the movement’s works.
In addition to using the sketches he had executed throughout the summer months, Avery also turned to the city for inspiration for his paintings, in particular to its human activity and crowds.
[Royal Academy]
Milton Avery: American Colourist
(July — October 2022)
Recognised as an important and influential twentieth-century American artist, Milton Avery’s entry into the art world was somewhat unconventional. Born in 1885 in Altmar, New York, into a working-class family that finally settled in Connecticut, near Hartford, Avery left school at sixteen to work in a factory. Four years later, in an attempt to improve his earning potential, he enrolled in an evening class in ‘commercial lettering’ at the Connecticut League of Art Students and soon after transferred to drawing, so commencing a fifteen-year part-time study of art and a lifetime dedicated to drawing and painting.
Avery’s work spanned and, to some extent, became the link between two significant movements in the United States in the twentieth-century, American Impressionism and Abstract Expressionism, with both having an impact on his oeuvre. Through his close association with some of the younger key exponents of Abstract Expressionism, Avery’s early work played an influential role in how the movement later developed and unfolded. Never affiliated to any particular group or tendency, Avery followed his own artistic inclination. With his steadfast adherence to representation and the innovative ways in which he balanced colour and form within his compositions, he often appeared to be running counter to the prevailing trends of the time.
In 1926 Avery was married and living in New York, where he was to three months every summer at different locations of natural beauty, where he documented the landscape, providing material and inspiration for the later studio paintings.
This retrospective survey presents a selection of Avery’s finest work from across his career and charts his constant development, revealing his unique ability to create exquisitely balanced poetic compositions of colour and form.
[Royal Academy]
A male, who is walking or trying to dance. He had a strange approach in his behaviors that made me to give this name in the painting. It was created in quick poses for 5 or 10 minutes pose. It was a very interested practice that I tried to show all my feelings for model and the occasion.Movement, frustration, dance, self egoism, narcissism etc .It is a piece of personal experimentation/expressionism.
Old FB_IMG_
Giving people at Monte Casino Johannesburg , a suprising American experience , I saw one of the Chipmunks near the movie area and thought he needed some nuts.
I thought it was funny and thought it would be funny.
The couple were a little shocked and confused. Black punks out in the suburbs , security must be sleeping.
City Hall
The term Brick Expressionism (German: Backsteinexpressionismus) describes a specific variant of expressionist architecture that uses bricks, tiles or clinker bricks as the main visible building material. Robert Natus was an Estonian architect. His best known work is the current City Hall of Tallinn, built in 1932
I must upload the measurements of my paintings but this one is quite overbearing. However I made a compositional error when positioning the pot. I had no room to fit the flowers in and in a radical experiment I gave life to the heads of the plants by the way of smily faces. The bottom of the painting is the dark zone where I've shaded accordingly to the top of the painting but it is too vast to make sense of it. I think the bottom half would have benefitted from a reflection and self shadow of the overbearing pot and highlighted the plant heads.