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James EnsorAssassinat - Etching by James Ensor - 18881888
1888
About the Item
Assassinat is an original etching on the Japanese paper, realized by James Ensor in 1888, signed on the plate and dated, with the second signature on the reverse.
In good conditions.
Included a frame.
This etching is Representing, a man being tortured laid down on a long table by other cruel figures all around him. the subject of the dead body or dying persons fascinated Ensor and was one showing suffering and pain are of his method of expression. Furthermore, there are Skeleton and mask another important topic of Ensor artworks, he was fascinated by the dark and silenced skeleton and skulls and could express his art through observation of many skeletons in his studio, here this original etching is one of the precious results of this observation and deepening in the mysterious world of the dead.
A rare specimen in very good conditions, following Taevernier no states are known to exist.
References:
Taevernier, Auguste (1999). James Ensor. Belgium: Pandora/Snoeck-Ducaju & Zoon p.103 no.38
James Ensor (1860-1949), is a Belgian painter and printmaker, an important influence on Expressionism and Surrealism. Ensor's early works, such as Russian Music (1881) and The Drunkards (1883), depict realistic scenes in a sombre style, his palette subsequently brightened and he favoured increasingly bizarre subject matter. Such paintings as The Scandalized Masks (1883) and Skeletons Fighting over a Hanged Man (1891) feature figures in grotesque masks inspired by the ones sold in his mother's gift shop for Ostend's annual Carnival.
Subjects such as carnivals, masks, puppetry, skeletons, and fantastic allegories are dominant in Ensor's mature work. Ensor dressed skeletons up in his studio and arranged them in colorful, enigmatic tableaux on the canvas, and used masks as a theatrical aspect in his still lifes. Attracted by masks' plastic forms, bright colors, and potential for psychological impact, he created a format in which he could paint with complete freedom.
Ensor was a prolific and accomplished printmaker. He created 133 etchings and drypoints over the course of his career, with 86 of them made between 1886 and 1891 during the height of Ensor's most creative period. Ensor himself recognized that the prints were a key part of his artistic legacy, stating in a letter to Albert Croquez in 1934: "Yes, my intention is to go on working for a long time yet so that generations to come may hear me. My intention is to survive, and I think of the solid copper plate, the unalterable ink, easy reproduction, faithful prints, and I adopt etching as a means of expression
- Creator:James Ensor (1860 - 1949, Belgian)
- Creation Year:1888
- Dimensions:Height: 6.97 in (17.7 cm)Width: 9.26 in (23.5 cm)Depth: 0.08 in (2 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:Insurance may be requested by customers as additional service, contact us for more information.
- Gallery Location:Roma, IT
- Reference Number:Seller: M-1063421stDibs: LU65036100982
James Ensor
James Ensor is a Belgian painter and printmaker and an important influence on Expressionism and Surrealism. Ensor's early works, such as Russian Music (1881) and The Drunkards (1883), depict realistic scenes in a somber style, after which his palette subsequently brightened and he favored increasingly bizarre subject matter. Such paintings as The Scandalized Masks (1883) and Skeletons Fighting over a Hanged Man (1891) feature figures in grotesque masks inspired by the ones sold in his mother's gift shop for Ostend's annual Carnival. Subjects such as carnivals, masks, puppetry, skeletons and fantastic allegories are dominant in Ensor's mature work. Ensor dressed skeletons up in his studio and arranged them in colorful, enigmatic tableaux on the canvas and used masks as a theatrical aspect in his still lifes. Attracted by masks' plastic forms, bright colors and potential for psychological impact, he created a format in which he could paint with complete freedom. Ensor was a prolific and accomplished printmaker. He created 133 etchings and drypoints throughout his career, with 86 of them made between 1886 and 1891 during the height of Ensor's most creative period. Ensor himself recognized that the prints were a key part of his artistic legacy, stating in a letter to Albert Croquez in 1934, "Yes, I intend to go on working for a long time yet so that generations to come may hear me. I intend to survive, and I think of the solid copper plate, the unalterable ink, easy reproduction, faithful prints and I adopt etching as a means of expression.”
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