Still Life with Chinoiseries
object number:
2076
measurements:
98 × 78 cm
date:
1880 - 1880
object number:
2076
measurements:
98 × 78 cm
date:
1880 - 1880
Ontvang altijd de laatste nieuwtjes
1KMSKA Archive, RES 0398/2076.
2Geert Van der Snickt, James Ensor’s Pigments studied by means of portable and Synchrotron Radiation-based X-ray Techniques: Evolution, Context and Degradation,
(PhD dissertation, University of Antwerp, 2012), 276-277.
1 Chicago: KMSKA. Online Scholarly Catalogue: Research Still Life with Chinoiseries 1880. Last modified September 28, 2024, https://kmska.be/en/osc/still-life-chinoiseries-0.
2 MLA: KMSKA. Research Still Life with Chinoiseries 1880.
Online Scholarly Catalogue, 28 September 2024, https://kmska.be/en/osc/still-life-chinoiseries-0.
La grande nature-more aux chinoiseries(
The large still life with chinoiseries). This is a fitting title which allows us to distinguish this work from several others that Ensor simply dubbed Chinoiseries. On this occasion, he depicts Chinese tableware and a small blue and red statue of a Chinese deity; a statue he would use again in three still lifes circa 1906.
touchstone of the true colourist. He painted some twenty smaller object studies in the years 1880 to 1881 that are clearly distinct from the full still lifes he painted between 1880 and 1883. These still lifes remain conceptually within a centuries-old tradition, but his choice of objects depicted (apples, meal ingredients including a Savoy cabbage, vegetables, meat, fish, oysters, flowers and decorative objects) is rather more modern, as is the sketchiness of the execution. The choice of components – Chinese and Japanese objects included – and the overall design are closely aligned with the work of the older Brussels avant-gardists and the Courbet disciples, Louis Dubois and Pericles Pantazis, whom Ensor would continue to admire throughout his life.
tachismduring the 20th century, as if it were an independent, indigenous form of Belgian impressionism, despite the fact that this development of realism or pleinairism was popular in France, the Netherlands, Germany and the Scandinavian countries too. Like the vast majority of Ensor's work, the composition is painted directly from life, without preparatory studies or preliminary drawings.
La grande nature-more aux chinoiseries(
The large still life with chinoiseries). This is a fitting title which allows us to distinguish this work from several others that Ensor simply dubbed Chinoiseries. On this occasion, he depicts Chinese tableware and a small blue and red statue of a Chinese deity; a statue he would use again in three still lifes circa 1906.
touchstone of the true colourist. He painted some twenty smaller object studies in the years 1880 to 1881 that are clearly distinct from the full still lifes he painted between 1880 and 1883. These still lifes remain conceptually within a centuries-old tradition, but his choice of objects depicted (apples, meal ingredients including a Savoy cabbage, vegetables, meat, fish, oysters, flowers and decorative objects) is rather more modern, as is the sketchiness of the execution. The choice of components – Chinese and Japanese objects included – and the overall design are closely aligned with the work of the older Brussels avant-gardists and the Courbet disciples, Louis Dubois and Pericles Pantazis, whom Ensor would continue to admire throughout his life.
tachismduring the 20th century, as if it were an independent, indigenous form of Belgian impressionism, despite the fact that this development of realism or pleinairism was popular in France, the Netherlands, Germany and the Scandinavian countries too. Like the vast majority of Ensor's work, the composition is painted directly from life, without preparatory studies or preliminary drawings.
Ensorand
80in a darker red paint; the darker red paint visible in the UV image.
J. ENSORwas added in white and partly overpainted in shades of orange/brown/red. As a result, the signature is barely visible on the painting.
