James Ensor archive 

1. Archive context 

The KMSKA archive holds 617 archival documents about and relating to James Ensor. They are valuable sources for Ensor research, providing insight into the artist's oeuvre and mind. The KMSKA's Ensor archive has not previously been registered or made digitally accessible.  

These archival items were largely acquired in 1952 from Janssens' collection in Lier and in 1997 from Hespel's collection. A few pieces were acquired separately. IIn 2019, all records were digitised to Metamorfoze standards by an external party d/arch digitaliseert.  

The archive consists of 76 manuscripts (speeches, prose), 339 letters and postcards, 150 pieces of photographic material and 52 documents related to Ensor. The latter documents are very diverse and range from invitations to exhibitions, to newspaper clippings and banquet menus. 

The archival materials include postcards and letters addressed to and/or coming from family members, notably his sister Marie (Mitche) and his beloved niece Alexandrine, numerous professional and friendly relations such as the critics Pol De Mont, Camille Mauclair, Théo Hannon, Olympe Gilbart, André Malraux, colleagues such as Armand Rassenfosse, art dealers Van Missiel, Sam Salz, Giroux and the Franck brothers. The manuscripts for Ensor's ‘writings’ contain corrections and are sometimes unpublished, such as a curious short text ‘Sur l'expérience Van Gogh’. Piece by piece, the entire collection sheds new light on specific biographical and artistic issues but, as a whole, also breaks through the romantic image of the eccentric unsociable Ensor in his little shell shop in Ostend.  

In addition, KMSKA possesses no less than 38 paintings and 650 drawings by Ensor. A collection that is indispensable for knowledge of Ensor's work. The archival materials in the KMSKA archive complement the art collection. They contain information that clarify Ensor's personality and his artistic activity in various ways. Sometimes this information is very specific when certain KMSKA collection pieces are referred to, such as The Intrigue and The Oyster Eater.  

2. Project objectives 

The opening up of the KMSKA's digitised archive file of James Ensor ties in closely with the Ensor research (Ensor Research Project) that has been running at the museum for quite some time. The year 2013 was the real start for a thorough material-technical and art-historical research, following a series of successful exhibitions including in Japan and the publication of the doctoral dissertation by Dr. Herwig Todts James Ensor, Occasional Modernist. Ensor’s Artistic and Social Ideas and the Interpretation of his Art. The design and subject of the study is Ensor's creative process, with three approaches chosen. Firstly, the motivation and theoretical foundations of Ensor's artistic choices were investigated. In addition, the research consists of a material-technical section and classical art-historical research on the destination, historicity, reception, iconography and interpretation of the Ensor paintings in the Royal Museum and related works.  

It is this first pillar of research in which this archive file is of added value. A close reading of James Ensor's letters and writings and condolence cards after his death shed light on the artist's artistic choices and ways of thinking. Ensor's own artistic, social and philosophical views emerge along with his desire for bliss, his belief in the power of a natural representation of things, his deep aversion to banality, and his relentless thirst for innovation and diversification.  

The letters and manuscripts are full of references to events in Ensor's own life and the art social realities in which he lived or by which he was influenced. Therefore, in addition to recording each archival document with minimal descriptive metadata, the aim of the project includes a transcription of the source text. A translation of the mostly French correspondence and manuscripts into Dutch and English will then be made available for further research and reuse. The translations will be published in phases on the website. This project is still in progress, here you can see the first results.   

Together with the Ensor Research Project, the unlocking of the digitised Ensor archive should make knowledge of Ensor's life and work available worldwide. Both projects bear out the museum's ambition to become the centre of expertise par excellence on James Ensor.  

3. Metadata

Every archival record has an inventory number (record identifier) and an image number (digital A-number). The inventory number can be used to search the archival system, where more detailed metadata can be found related to the material properties and condition of the record.

The archive collection consists of original documents, of which a high-quality scan is always offered according to the standards of Metamorfoze. The letters, postcards and manuscripts are also given a transcription of the source text in French and a translation in British English and Dutch.

Date and/or place of formatting or issue could not always be clearly inferred. When no date indication is given on the archival item, research was carried out. Based on issues in publications or entries in the text, the date was supplemented as best as possible. When the date field is empty, the date is unknown. Date notation can be as follows:

• Without date
• Date is approximately known, rounded to month and/or year
• Prior to a certain date
• Post a certain date

When a person (artist, writer, etc.), institution (museum, gallery, etc.) or exhibition is mentioned in the writing, it is linked to the record. In this way, all linked records can be retrieved in a query. The search function allows filtering by object type, starting and ending year, correspondent and subject.  

The same applies to works of art (paintings, drawings) by Ensor that are mentioned in the writings, and are part of the KMSKA's own collection. A link is established to the online collection catalogue. If the writing has been published or is mentioned in a publication, this is linked to the library catalogue. If a listed work of art or publication is not present in the own collections, a reference is included in the annotation field.  

Finally, archival records are also linked to each other. For example, there may be several copies of the same writing in the archive, in pencil it is then stated e.g. ‘copie exacte ’. Sometimes, although it is not explicitly mentioned on the document, it is clear that the writing is a draft version of another record. Related documents are also linked here, e.g. Ensor may mention the text of a speech in another letter, or there may be several photos of the same statue in the archive file.  

A subject is added to each archive record by analogy with the Arts & Architecture Thesaurus (AAT). In this way, subject-based searches can be made in the archive file.  

4. The principles underpinning the transcriptions  

The premise for publishing the Ensor Archive is to make it accessible for scholarly research and reuse. Hence, offering transcriptions of the original texts is indispensable. The transcriptions were produced through several stages. Tests were conducted for automated transcription and manual transcription. In addition, content was proofread by in-house Ensor specialists and art historians, and grammatical and textual proofreading was done by external transcribers and French-language translators. 

Research was conducted to transcribe manuscripts and letters via transcription tools based on AI software. eScriptorium's HTR (Handwritten Text Recognition) was tested for this purpose. The delivered results still underwent repeated manual corrections and revision. The transcriptions on the website are the result of largely manual transcription and a small proportion of automatic transcription. 

It is important to underline that the transcription may deviate from the French source text. Obviously, the original writing was used as a starting point but handwritten changes such as crossing out, adding notes or overwriting words, may account for a divergence.  

For Ensor, writing had several purposes: preparing for a speech, ambitions to improve his writing, practical communication, asserting his voice or showing support, etc. He tries to measure himself against other writers. The manuscripts are not always unambiguously interpretable due to the use of archaic vocabulary, the invention of new words and allusions to events in his surroundings. He often disregards correct spelling and punctuation. The writings are full of truncations of sentences, words crossed out, notes captioned in pencil, sentences in a different writing direction, etc.  

During transcription, an utmost effort was made to follow the layout of the letter, postcard or handwriting. To promote readability, the texts were adapted to contemporary French grammar and spelling. The use of capital letters, spelling of proper names and place names were adjusted where necessary to present legible and high-quality transcriptions. Also with a view to translation into Dutch and English, this intervention was required.  

Specifically, what was adjusted/added/removed?  

• Addition of missing inverted commas (where Ensor did not use them); 
• Solution of abbreviations when they are obsolete and/or not immediately obvious from the context (written in full); 
• Punctuation (commas, colons or semicolons) have been corrected in cases where they impede sentence comprehension; 
• Language and spelling errors have been corrected where they lead to inappropriate reading; 
• Mention of titles of works of art is in italics; 
• When a word cannot be interpreted from the source text but may be crucial to the meaning of the sentence, a (?) is placed after it; 
• Words between two slashes \ / when text was added later to the main text; 
• Words in brackets [ ] when words are incomplete or [...] when words are illegible; 
• Words crossed out in the source text but still legible are also crossed out in the transcription; 
• Text that is in a different writing direction is displayed in a logical place in the text for full readability.  

5. The translations 

In the past, translations of Ensor's writings have already been published. With, for Dutch, the most important work being ‘Picturale Pennenvruchten: geschriften’ from 1990 and, for English, translations of some paragraphs from writings in Herwig Todts' 2013 thesis dissertation that was translated into English in 2019 ‘James Ensor, Occasional Modernist. Ensor’s Artistic and Social Ideas and the Interpretation of his Art.’ The translations here on the website, are purely based on the transcriptions made as part of this project.  

As the translations were quite challenging, the task was split into manuscripts and letters/postcards on the one hand, and FR-ENG translators and FR-NL translators on the other Furthermore, the translation project was divided into phases. Currently in phase 1, only a selection of letters and manuscripts were translated, specifically 24 out of 76 manuscripts and 110 out of 340 letters and postcards. A second phase involving the translation of the remaining texts is planned in the years ahead.  

The manuscripts were transcribed (and interpreted) by 1 FR-ENG and 1 FR-NL translator. Translation into Dutch and English was next. All texts were then checked for content and textually by an Ensor specialist and museum staff with a good knowledge of the languages concerned. The letters and postcards were first transcribed by a professional transcriber attached to a translation agency. The transcriptions underwent revision by a fellow reader from the translation agency and by museum staff. Subsequently, 1 FR-ENG translator translated into English and 5 FR-NL translators into Dutch. All translations were then proofread again by an Ensor specialist and museum staff with a good knowledge of the languages concerned.  

Since several translators and proofreaders were involved in this project, advance arrangements were made. First, translators were chosen with a background as literary translators because of Ensor's specific writing style. Secondly, the translations had to stay as close as possible to the singularity of Ensor's writing style. Specifically, this means that alliterations, puns, neologisms, allusions to events from Ensor's own life or the art world in general, are translated from French into Dutch and English as faithfully as possible to the source text. This has been a balancing act between readability and authenticity.  

An example: 

Ensor often concludes his letters with very ornate and long-winded greetings. These wordings are typical of texts at the beginning of the 19th century but are no longer so common in current French vocabulary. For example: « Je vous prie, cher Monsieur, d'agréer l'expression de mes sentiments les plus dévoués. » when converted to current vocabulary, this becomes ‘Yours faithfully’ in English and ‘Hoogachtend’ in Dutch.” But since the translation aims to stays loyal to Ensor's writing style, the longer version is opted for. This then becomes: 

• NL “Accepteer alstublieft de uitdrukking van mijn meest toegewijde gevoelens.” 
• ENG “Please accept the expression of my most devoted feelings.” 

In terms of layout, readability is the guiding principle. The transcription or translation is displayed next to the original scan in a continuous text. The drop-down menu at the top right allows switching between languages. In the original French source text on the scan, words at the end of a sentence are sometimes hyphenated, but in the translation and transcription this becomes a continuous text. Starting from the language of the target text, in Dutch or English a sentence or paragraph may be longer or shorter due to the common vocabulary and sentence structures in that particular language. 

6. Connections to other archives 

A list of collection and archive managing institutions that hold archives of James Ensor can be found at Archiefpunt. 

The most important archives are listed below (with corresponding publications in our library catalogue): 

• Letters Emma Lambotte 

  KMSKB Danielle Derrey-Capon, James Ensor – Lettres à Emma Lambotte 1900-1914. Brussels, 1999. 

  Archief Emma Lambotte, 1904-1914 (Brussels, Archief voor Hedendaagse Kunst (AHKB/KMSKB)) 

• Letters Ernest Rousseau  

  "Avec le noble crayon..." : lettres de James Ensor à la famille Rousseau 

  Letters in the possession of the Fonds Rousseau preserved at the Archief voor Hedendaagse Kunst in België, KMSKB, Brussels.  

• Archief Octave Maus, 1883-1917 (Brussels, Archief voor Hedendaagse Kunst (AHKB/KMSKB)) 
• Archief Pol de Mont, 1894-1900 (Oostende, MuZEE) 
• Archief André De Ridder, 1910, 1920-1930 (Ostend, MuZEE) 
• Archief André De Ridder, 1900-1960 (Antwerp, AMVC-Letterenhuis)  

7. Previous publications 

In the past, letters by Ensor have been partially published:  

• Mes écrits, ou: Les suffisances matamoresques
• Mes écrits
• Ensor à Einstein
• Lettre à Franz Hellens, Eugène Demolder
• Lettres, 1999 
• Lettres à André De Ridder, avec une introduction du destinataire 
• Lettres à Emma Lambotte, 1904-1914
• Picturale pennevruchten : geschriften

8. Online publication 

Quotation 

The following notation may be used to cite an archival record: 

• Identification of the document [letter, manuscript, seal, menu, photograph, etc.] 
• First name Name of sender/author [James Ensor] 
• First name Name of addressee [Emma Lambotte], 
• Location of formation [if necessary: “s.l.”], 
• Date of formation [if necessary: “s.d.”]. 
• Location of deposit [name of town in French], 
• Name of institution [in original language], 
• Name of collection of letters [Correspondence to James Ensor] 
• Inventory number. 
• Web edition: URI KMSKA (accessed on DD/MM/YYYY). 

E.g. : Picture postcard from Emma Lambotte to James Ensor, Antwerp, [11/06/1909]. Antwerp, Royal Museum of Fine Arts, Coll. Archiefcollectie James Ensor, inv. tg:kmskabr:233. Web edition: URI KMSKA (accessed on 22/05/2024).  

Copyright and legal 

The applicable copyright on each individual archival item is listed with the item under the Features tab.  

Public domain 

Photographs of archive documents in the public domain can be downloaded free of charge and used without permission. We do appreciate a mention of our name (KMSKA Collection - Flemish Community). Read more about public domain here. ​ 

Are you using the image for professional purposes? The image management department will be happy to help you with all your questions, for example providing high-resolution images free of charge. Do not hesitate to contact us. If you are using the image in a publication, we will gladly receive a copy. ​ 

KMSKA releases public domain photographs of objects under a Creative Commons Zero licence (CC0). There is therefore no restriction on the use of the photographs and accompanying information. All text on this site is also released under a CC0 licence. For more information on CC0, please visit the Creative Commons page. ​ 

In copyright/ SABAM Belgium 

When the photo is marked with the © symbol, it means that the object is protected by copyright. This photograph may not be used, reproduced and/or disclosed in any way without the prior written consent of the copyright holders. For more information about these objects in copyright you can contact us and/or read more here. ​ 

These images are only displayed on the site and are not downloadable. Would you like to request a copyrighted image? Please fill in the contact form. As a user, you are responsible for clearing the rights with SABAM, the Belgian association for authors, composers and publishers: https://www.sabam.be/nl.  

Any reproduction, adaptation, partial modification or retransmission by TV, cable or Internet of works from the SABAM repertoire is prohibited, except with the prior permission of SABAM: https://www.sabam.be/nl ​ / mail: visual.arts@sabam.be. ​ 

Copyright undetermined 

For photographs of archival items where ‘Copyright undetermined’ is mentioned, it is unclear whether the object is copyrighted. In these cases, the author's name is not known, but there is a chance that the author died less than 70 years ago. 

These images are only displayed on the site and are not downloadable. Would you like to request a copyrighted image? Please fill in the contact form. As a user, you are responsible for clearing or attempting to ascertain the rights. 

No known copyright 

For the photographs of archival items where ‘No known copyright’ is given, the author is not known. However, the date of the object may be known and dated more than 70 years ago, or there is a very real chance that the author died more than 70 years ago. 

Photographs of archival items may be downloaded for free and may be used without permission. We do appreciate a mention of our name (KMSKA Collection - Flemish Community).  

Are you using the image for professional purposes? The image management department will be happy to help you with all your questions, for example providing high-resolution images free of charge. Do not hesitate to contact us. If you are using the image in a publication, we will gladly receive a copy. ​  

The project was achieved by a directed team within the museum and was supported by external parties in terms of translation, registration and ICT.  

In addition, the project was made possible by FOSB funds, the Flemish Open Science Board is an initiative of the Flemish government. Open Science aims to make scientific research more open with an emphasis on the widespread sharing of knowledge, results and tools.  

Transcription and translation 

Het Vertaalcollectief 

Translators under framework contract: Heidi Persoon, Sam Vangheluwe 

FR-ENG literary translators: Galatea Laudouar, Michael Lomax 

FR-NL literary translators: Maia Van Langendonck, Kim Schepens, Ursula Teijink, Titus Kroon, Janine Cathala-Vette, Catharina Van den Berghe 

Project team  

In-house: Nathalie Monteyne, Manou De Sutter, Yfa Everaerd, Nette Willekens, Eline Wellens, Herwig Todts, Chantal Lefeber, Claudio Carreon, Floris Verhoeven, student employees Steffi en Tova, volunteer transcribers, marketing and communications team.  

Outsourced: Website LeapForward, HeroSolutions