Abstract
James Ensor’s work as a painter materialized both a physical and proverbial departure from contemporary schools of late nineteenth century painting. Ensor (1860-1949) extended his brush into the unfounded aesthetic territories of explosive brushwork and patchy colors, while he simultaneously analyzed the morality of Belgium politics, the Catholic Church, the bourgeois, and the art establishment. This study seeks to formally and ideologically contextualize Ensor’s life and his 1888 masterpiece Christ’s Entry into Brussels in 1889, and, in doing so, extrapolate Ensor’s influence on the European avant-garde of the early twentieth century. A pictorial and aesthetic kinship is deduced between Ensor and early Expressionism, while his satirical contemplations of morality and Belgium’s sociopolitical system are prevailing tendencies inherent to Dada and New Objectivity.
How to Cite
Yount, R. W., III, (2019) “James Ensor and Christ’s Entry into Brussels in 1889 in Context: Interpretive and Anticipatory Dialogues”, Capstone, The UNC Asheville Journal of Undergraduate Scholarship 32(2).
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