Belgian 1860-1949 Belgian painter, printmaker and draughtsman. No single label adequately describes the visionary work produced by Ensor between 1880 and 1900, his most productive period. His pictures from that time have both Symbolist and Realist aspects, and in spite of his dismissal of the Impressionists as superficial daubers he was profoundly concerned with the effects of light. His imagery and technical procedures anticipated the colouristic brilliance and violent impact of Fauvism and German Expressionism and the psychological fantasies of Surrealism. Ensor most memorable and influential work was almost exclusively produced before 1900, but he was largely unrecognized before the 1920s in his own country. His work was highly influential in Germany, however: Emil Nolde visited him in 1911, and was influenced by his use of masks; Paul Klee mentions him admiringly in his diaries; Erich Heckel came to see him in the middle of the war and painted his portrait (1930; Cologne, Wallraf-Richartz-Mus.); Alfred Kubin owned several of his prints, while Marc Chagall and George Grosz also adapted certain elements from Ensor. All the artists of the Cobra group saw him as a master. He influenced many Belgian artists including Leon Spilliaert, Rik Wouters, Constant Permeke, Frits van den Berghe, Paul Delvaux and Pierre Alechinsky.  Related Paintings of James Ensor :. | Children Dressing | Skeleton Musicians | The Flagellation | Demons Trashing Angels and Archangels | Christs Entry Into Brussels in 1889 |
Related Artists:
ben nicholson
Born in 1894 in Denham, Buckinghamshire, Nicholson was the son of the painter Sir William Nicholson and Mabel Pryde, and the brother of Nancy Nicholson. The family moved to London in 1896 and Nicholson was educated at Tyttenhangar Lodge Preparatory School, Seaford, Heddon Court, Hampstead and then as a boarder at Gresham's School, Holt, Norfolk. He trained as an artist at the Slade School of Fine Art from 1910?C1914, where he was a contemporary of Paul Nash, Stanley Spencer, Mark Gertler, and Edward Wadsworth. Nicholson was married three times: firstly to Winifred Roberts (married 5 November 1920 at St. Martin-in-the-Fields Church, London; divorced 1938) with whom he had three children, a son Jake in June 1927, a daughter Kate in July 1929 (who later became an artist herself) and a son Andrew in September 1931. His second marriage was to fellow artist Barbara Hepworth (married 17 November 1938 at Hampstead Register Office; divorced 1951) with whom he had triplets, two daughters Sarah and Rachel and a son Simon in 1934 and third to Felicitas Vogler, a German photographer (married July 1957; divorced 1977).
Jan Miense Molenaer
Dutch Baroque Era Painter, ca.1610-1668 was a Dutch genre painter whose style was a precursor to Jan Steen's work during Dutch Golden Age painting. He shared a studio with his wife, Judith Leyster, also a genre painter, as well as a portraitist and painter of still-life. Both Molenaer and Leyster may have been pupils of the successful Dutch painter, Frans Hals. Molenaer achieved a style close to Hals early on in his career, but later developed a style like that of Dutch genre painter, Adriaen van Ostade. His genre works often depicted players of music, such as his The Music Makers (Museum of Fine Arts, Budapest), The Duet ((Seattle Art Museum), or Family Making Music (Frans Hals Museum). He also depicted Taverns and the activities of card games or games of the times such as La main chaude, or in Dutch, Handjeklap, which literally means clapping hands. Molenaer also cleverly depicted biblical stories in his own time and surroundings, such as representing a scene from Peter's Gospel set in a Dutch Tavern in, The Denying of Peter (Museum of Fine Arts, Budapest)
Caroline Watson
British 1760-1814,Daughter of James Watson. In 1780 she signed a stipple print of Isaac Watts and was soon employed by John Boydell (e.g. Prince William of Gloucester, 1784, after Joshua Reynolds). In 1785 she became Engraver to Queen Charlotte (1744-1818), a keen print collector. She was particularly fitted to working after miniatures, such was the delicacy of her engraving, and some of her best prints are portraits and small subjects after Samuel Shelley (c. 1750-1808). She did private commissions of this kind, notably for the Bute family, and also engraved large plates, some for the Boydell Shakespeare Gallery, including the Death of Cardinal Beaufort (1792) after Reynolds, allegedly at his request. She was employed by William Hayley (1745-1820) on his Life of George Romney Esq (London, 1809), and the correspondence involved shows her as a reliable and respected professional.