Stay up to date with the latest research news.
13 May 2014
In this article, restorer Laure Mortiaux explains how the restoration project of Astonishment of the Mask Wouse has yielded new insights into James Ensor’s technique and provided clues about the material history of the painting and the various treatments that it has undergone.
13 April 2014
James Ensor was so skilled at palette knife painting that he was able to apply the technique to great optical effect. In this article, restorer Karen Bonne explores Ensor’s quest for the perfect touch.
13 March 2014
A painter’s palette can tell us a great deal about the artist’s painterly approach. In this article, restorer Karen Bonne compares a number of real palettes in the museum collection with palettes represented in paintings by, among others, James Ensor. This, too, can yield interesting insights.
13 February 2014
The Royal Museum of Fine Arts Antwerp preserves no fewer than thirty-eight paintings by James Ensor, pieces for which the museum receives exceptionally many loan request for exhibitions in Belgium and abroad. Together, the paintings have travelled on over 1500 occasions to 260 or so exhibitions. In the present article of the Ensor Research Project, Nanny Schrijvers describes the exhibition history of The Astonishment of the Mask Wouse, one of the showpieces in the KMSKA collection.
13 January 2014
Fingermarks are not readily associated with art, yet keen observers will be aware that they occur quite commonly in paintings. In this article, restorer Karen Bonne discusses some fingermarks in the work of James Ensor.
13 December 2013
In this contribution, restorer Karen Bonne discusses three examples of Ensor’s deliberate use of the scratching technique, also known as sgraffito.
13 November 2013
Like many of his contemporaries, James Ensor quite often reused his canvases. In this article, restorer Karen Bonne explains how he used to proceed.
30 October 2013
The published and unpublished writings of James Ensor inform the researchers of the Ensor Research Project about some of his artistic choices. In the present article, Herwig Todts discusses Ensor's views on the use of varnish.
13 August 2013
This article discusses the use of lead white and zinc white in Ensor’s Still-life with Chinoiseries.
26 July 2013
The Royal Museum of Fine Arts Antwerp (KMSKA) is launching the Ensor Research Project. The museum aspires to becoming the leading centre of expertise in art-historical and material technical research into the oeuvre of James Ensor.
18 July 2013
A new edition of the Rubensbulletin is available online. The four contributions are by Nico Van Hout, Ank Adriaans - van Schaik, Alexander Mossel and Christine Van Mulders.
Art for a Banquet Hall. Cherries by Lawrence Alma-Tadema
31 January 2012
Works of art often travel complicated routes before ending up in a
museum collection. Research into the provenance of collection pieces is therefore an important and
exciting area of research. In this article,
Siska Beele draws on brand-new information to reconstruct the vicissitudes of
Cherries, a painting by
Lawrence Alma-Tadema now on view in the exhibition
The MODERNS. Art from the
Download the article "Art for a Banquet Hall. Cherries by Lawrence Alma-Tadema" (PDF, 3,41 MB)
5 January 2012
Rubens Documentation on the Move
7 September 2011
At the beginning of September, the KMSKA staff, including the collection research team, moved to temporary accommodation in the Anna Bijns Building of the Flemish public administration near Antwerp Central Railway Station. The museum's Rubens documentation has also moved to this location for the duration of ongoing renovation work to the museum building. The museum's Rubens documentation encompasses all of the research materials, textual sources and photographs that the Rubens project team members have collected in the course of their research activities into the Rubens subcollection. The documents are stored by inventory number of the collection pieces. The Rubens visual database has also been transferred temporarily to the Anna Bijns Building. The database contains hundreds of images produced in the course of the research programme. The museum's Rubens documentation is accessible to fellow researchers by request.