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James
Ensor: Skeletons in the Studio
by Gert Schiff
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The madonna and the
crucifix seem to hint at the solace of religion. But too much is
known about Ensor's atheism, his firm refusal to believe in an
after-life, and the blasphemous undercurrent of his art. (The
Consoling Virgin is, according to Paul Haesaerts, not the
Madonna but the divinity of Painting as Ensor's inspiration and sole
comfort.) (15) Also, the position of the third mask, that grinning mask
of a sceptic, precisely between the Madonna and the extinguished
candle (an old symbol of death), is too revealing not to be charged
with meaning. There remains the imprint of a child's hand. It
belongs to Ensor's niece, whom he nicknamed "La Chinoise".
She was the seven-year-old daughter of his sister Mitche from her
brief and ill-fated marriage with a Chinese antique dealer. Both
Mitche and' 'La Chinoise" had lived in close proximity to Ensor
after 1892. How fond he was of the child can be gathered from the
fairytale-like portrait he painted of her in 1899 (fig. 8). One
wonders whether the imprint of her hand meant more to Ensor than a
mere reminder of her much-cherished existence. Dipped in blood, it
may have served the artist as an apotropaicum, or talisman
vested with the strength of the innocent to avert the evil
influences of his spectres.
All of Ensor's art is intensely private, and this painting is
especially rich in personal content. Incorporating painful memories
and anguished presentiments, it marks a watershed in the artist's
life. That it holds an equally crucial place in his stylistic
development will be shown now.
Generally, one distinguishes three periods
in Ensor's painting: the période sombre, c. 1880-1885; the période
claire, c. 1885-1900; and the long last period, called by
Haesaerts (for no visible reason) the période cristalline.
(16) This
latter extends from the turn of the century until Ensor's death in
1949. As long as we have no catalogue raisonné allowing further
refinements, this construct can be accepted. That there are
overlappings between all three periods is a matter of course.
During the période sombre, Ensor derives subject-matter from
familiar surroundings, the dunes and the port of Ostend, the
bourgeois interiors of his parental home. He portrays those closest
to him as well as the poor fisherfolk. His still-lifes are of
vegetables,
fish and fowl, and household ware in the Flemish tradition. This
style has its roots in Courbet's realism (note the excessive use of
the palette knife), but it is also open to Impressionist influence.
However, to quote Paul Fierens, "Ensor's luminosity
incorporates itself in substances, masses and volumes and, far from
juggling away relief, creates and affirms it." (17) The colours
are dark blues, blacks, purples, and oranges on a ground of muted
gold.
Some time after 1885, Ensor's palette brightens and the voyant becomes
a visionnaire. He paints increasingly ghostly, and more or
less travestied religious subjects. According to M. De Maeyer, (18) the
skeleton appears for the first time in The Agonized Christ of
1886 (Brussels, Musée Royal d'Art Moderne); masks, in The
Temptation of St Anthony (1887; Kapellen, F. Speth coll.). In
several works from the earlier 1880s, the masks and skeletons have
been added later, in 1889-1890. The période claire is
Ensor's most imaginative one and therefore impossible to reduce to a
common denominator. For a number of years, the painterly approach of
the preceding period prevails, with all the colours of the spectrum
applied in heavy impasto. From c. 1890 on (if not earlier, cf.
fig. 3), one observes, first in the still-lifes, a hardening of
forms and a uniformly cool light that all but eliminates shadows. It
is most markedly "studio light" as opposed to the warmer
and more vibrant "apartment light." (19) The colouring is
applied more thinly and is not so rich in contrasts; on the other
hand it has acquired a nacreous quality. Libby Tannenbaum was the
first to observe in these still-lifes a "a new set of objects:
bottles, painted crockery and china, metal candlesticks, sea shells,
crabs and lobsters, objects all strangely hard and unyielding, and
suggesting only the calcine remnants of life which is represented
only by the scavenger crustaceans." (20) Both the painterly and
the "nacreous" manner coexist and fuse in various ways
throughout the 1890s. For a short while between 1890 and 1893, a
third and, for once, rather unpleasant manner emerges. It is
inspired by hatred, hence grossly caricatural, and reduces the
refinement of the two other manners to mere coloured drawing. The
principal example is The Good Judges (l891); but also as
gentle a subject as The Consoling Virgin is painted in this
style. (21) The style comes to the fore again occasionally during
Ensor's later years, but without polemical content.
At the beginning of the twentieth century, Skeletons in the
Studio represents a synthesis of all the achievements and
innovations of the période claire. With the obvious
exception of The Entry of Christ into Brussels, I can think
of no other painting by Ensor that is so rich in detail and yet so
clearly arranged. The composition is a feat of dynamic equilibrium
within a controlled disorder. In a space that is both flattened and
capacious, all the figures and objects are adjusted to a cleverly
disguised system of verticals, crossed by the dominant horizontal of
the table top. The light is, by definition, studio light. The
uniform tonality of walls and floor has the brightness typical of
the nacreous manner; everything else is painted in hearty local
colours which, only around the window to the left, in the portfolios
and, above all, in the robes of the two largest skeletons, attain
some of the sonority of the painterly manner. In some of the
still-life objects as well as in the view from the window, the
folkloristic gaudiness of the colouring and the naive directness of
the drawing point forward to the poster style of certain later
works. But our painting has none of their stridency and lack of
structure. Dynamic equilibrium prevails also between its dark
symbolism and high-keyed visual appearance. One could almost say
that in this painting, the artist had for the last time attained the
height of his powers. Rarely equalled in his career, it contains the
whole Ensor.
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