Annual Bulletin 4, 1980-1981

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James Ensor: Skeletons in the Studio

by Gert Schiff

Pages 1 | 2 | 3 | 4

Notes

1 Skeletons in the Studio. Oil on canvas, signed and dated "Ensor 1900," 111 x 79.5 cm. See provenance, exhibitions, and bibliography, below.

2 I owe this information to Mr Frank P. Edebau, Honorary Director of the Ostend Museums (letter of 4 January 1982).

3 See Diane Lesko, "Ensor in his Milieu," Artforum xv:9 (May, 1977), p. 59.

4 See Gert Schiff, "Ensor the Exorcist," in Art the Ape of Nature, Studies in Honor of H. W. Janson, ed. M. Barasch, L. F. Sandler, and P. Eagan (New York and Englewood Cliffs, New Jersey: 1981), pp. 719-737, esp. 729 f.

5 Firmin Cuypers, James Ensor, l'homme et l'oeuvre (Paris, n. d.), p.13 f.; quoted from Libby Tannenbaum, James Ensor, An Iconographic Study, M. A. thesis, New York University, Institute of Fine Arts, 1942 (unpublished), p. 35 and footnote 46 (translation NCC).

6 For examples see Cisèle Ollinger-Zinque, Ensor par lui-même (Brussels: 1976).

7 Tannenbaum, op. cit., p. 64.

8 Paul Haesaerts, James Ensor (Meddens, 1973), colourplate on p. 147.

9 Haesaerts, ibid., pl. p. 39:

10 Haesaerts, ibid., pl. p. 125.

11 Schiff, op. cit., p. 729.

12 See Haesaerts, op. cit., p. 146.

13 Schiff, op. cit., pp. 733-735 and p1. 15, Ecce Homo, or Christ and the Critics, 1891.

14 Ollinger-Zinque, op. cit., pl. 90.

15 Haesaerts, op. cit., p. 147.

16 Haesaerts, op. cit., p. 150.

17 Paul Fierens, James Ensor (Paris: 1943), p. 7 (Schiff translation).

18 Mo De Maeyer, "De genese van masker, travestie en skeletmotieven in het oeuvre van James Ensor," in Bulletin des Musées Royaux des Beaux-Arts en Belgique, xv (1963), pp. 69-88.

19 François Fosca, in his preface to the catalogue of the Ensor exhibition, Brussels 1929, p. viii, points out that during their epoch only Degas and Ensor were fully aware of, and capable of rendering, these two kinds of light.

20 Tannenbaum, op. cit., p. 77.

21 See Haesaerts, op. cit., pls 120 and 147.

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