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Stay up to date with the latest research news.

The restoration treatment of the Astonishment of the Mask Wouse The restoration treatment of Astonishment of the Mask Wouse

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.

Adam and Eve Expelled from Paradise, detail The perfect touch

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.

James Ensor, Ensor at His Easel (detail)

Ensor's palette

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.

 Backside of the painting The Astonishment of the Mask Wouse The many travels of the Mask Wouse

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.

Fingerprints and thumb marks

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.

Ensor’s scratching technique

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.

Still-life superimposed on a study of a semi-nude male

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.

Ensor on varnish

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.

Lead white and zinc white

13 August 2013

This article discusses the use of lead white and zinc white in Ensor’s Still-life with Chinoiseries.

From self-portrait to painting skeleton

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.    Cover Rubensbulletin

New edition Rubensbulletin

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

Lawrence Alma-Tadema, Cherries, KMSKAWorks 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 Netherlands .

Download the article "Art for a Banquet Hall. Cherries by Lawrence Alma-Tadema" (PDF, 3,41 MB)
 

Rubensbulletin: Latest Edition

5 January 2012

The latest edition of the online Rubensbulletin was published at the end of 2011. The five contributions are by Nico Van Hout, Ank van Schaik and Claire Betelu.

Rubens Documentation on the Move

7 September 2011

An opened documentationboxAt 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.

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