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The Social Context of James Ensor`s Art Practice: “Vive La Sociale!”, Susan M. Canning


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Автор: Susan M. Canning
Название:  The Social Context of James Ensor`s Art Practice: “Vive La Sociale!”
ISBN: 9781350298699
Издательство: Bloomsbury Academic
Классификация:
ISBN-10: 1350298697
Обложка/Формат: Paperback
Страницы: 272
Вес: 0.00 кг.
Дата издания: 30.05.2024
Язык: English
Иллюстрации: 32 colour and 73 bw illus
Размер: 234 x 156
Ключевые слова: Art & design styles: Expressionism,Art & design styles: Surrealism & Dada,Individual artists, art monographs, ART / Criticism & Theory,ART / History / Modern (late 19th Century to 1945),ART / Individual Artists / Monographs
Подзаголовок: Вђњvive la sociale!вђќ
Рейтинг:
Поставляется из: Англии
Описание: Vive la Sociale”: This rousing, revolutionary statement, written on a bright red banner across the top of James Ensor’s monumental painting Christ’s Entry into Brussels in 1889, served as a visual manifesto and call to action by the Belgian artist (1860-1949) who saw his art as central to the cultural discourse of modern Belgium.This provocative public declaration captures the innovative approach of this original survey, which highlights the social concerns and cultural encounters of James Ensors art as he navigated a rapidly modernising Belgium; its colonial presence in Africa, its expanding industry, and its growing nationalism. Rather than the alienated and traumatized Expressionist given preference in modern art history, Ensor is presented here as an artist of agency and purpose whose art practice engaged the issues and concerns of middle class Belgian life, society and politics and was informed by the changing values of class, race and gender of his time. Now available in paperback, this timely, nuanced reading of the art and career of this often misunderstood “artist’s artist” invites a re-evaluation not only of Ensor’s social context and expressive critique but also his unique contribution to modernist art practice. Lavishly illustrated with colour images of Ensors bold figurative paintings, this book will be an important resource for students of modernism. Given Ensors legacy of resistance, self-fashioning and performance through boundary-breaking art practice, his work remains all the more relevant today.


Ensor (Basic Art)

Название: Ensor (Basic Art)
ISBN: 3836560569 ISBN-13(EAN): 9783836560566
Издательство: Taschen
Рейтинг:
Цена: 1992.00 р.
Наличие на складе: Есть (2 шт.)
Описание: It was never a sure thing that James Ensor (1860-1949), the great Belgian painter of macabre and ghoulish scenes, would become a nationally revered figure. He was unusual in many ways. Apart from his training in Brussels, he spent his entire long life in Ostend, seemingly the opposite of cosmopolitan. Later on he was expelled by the group Les XX for a particularly controversial canvas: The Entry of Christ into Brussels, which he had painted in 1889. An expressionist before the term was coined, Ensor used the iconography of masks and skeletons to point up the essential horrors of life, and often underwrote his images with a sardonic gallows humour. It has been said that he appropriated the subject matter of a Bosch or Bruegel and revisioned them using the techniques of Manet or Rubens. But this is to diminish his own unique take on both art and experience. A genuine maverick in the way that so many Belgian artists are (lest we forget Magritte), James Ensor can claim a dark and distinctive place in the art histories of the last hundred years.

The Social Context of James Ensor`s Art Practice: “Vive La Sociale!”

Автор: Susan M. Canning
Название: The Social Context of James Ensor`s Art Practice: “Vive La Sociale!”
ISBN: 1501339222 ISBN-13(EAN): 9781501339226
Издательство: Bloomsbury Academic
Рейтинг:
Цена: 14256.00 р.
Наличие на складе: Нет в наличии.

Описание: “Vive la Sociale”: This rousing, revolutionary statement, written on a bright red banner across the top of James Ensor’s Christ’s Entry into Brussels in 1889, served as a visual manifesto and call to action by the Belgian artist (1860-1949), one that announced with an insistent, public voice the centrality of his art practice to the cultural discourse of modern Belgium. This provocative declaration serves as the title for this new study of Ensor’s art focusing on its social discourse and the artist’s interaction with and at times satirical encounter with his contemporary milieu. Rather than the alienated and traumatized Expressionist given preference in modern art history, Ensor is presented here as an artist of agency and purpose whose art practice engaged the issues and concerns of middle class Belgian life, society and politics and was informed by the values and class, race and gendered perspectives of his time. Ensor’s radical vision and oppositional strategy of resistance, self-fashioning and performance remains relevant. This book with its timely, nuanced reading of the art and career of this often misunderstood “artist’s artist”, invites a re-evaluation not only of Ensor’s social context and expressive critique but also his unique contribution to modernist art practice.


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