James Ensor at Met Museum
http://www.thirteen.org/sundayarts/blog/museums/skeletons-and-pickled-herring/724/
It’s easy to play the association game while looking at his early stuff in which he honed his technique—streetscapes/Monet; still lifes/Cézanne; full, flattened figure/Manet; interiors bathed with northern European light/Vermeer; and so on. Paintings that showed he had mastered traditional painting technique featured not society types but regular folk, such as in The Oyster Eater (1882) and The Drunkards (1883).
Ensor, who had a light-filled studio, often lavished upon his macabre subjects a discordantly beautiful light. But that white light also took on symbolism in his many religious-themed images. He depicted Christ in numerous scenes and allegories. In Tribulations of St. Anthony (1887), a wide shaft of heavenly light cuts a diagonal through the foreground’s deep reds. And Masks Confronting Death (1888) is notable for its creamy light as well as its short, scrubby brush strokes.
In a quirky body of work, two works stood out in particular. One is The Skate (1892), a still life that at first glance seems to be fairly traditional, depicts an array of sea creatures, including a conch shell and some small fish. The eponymous subject, however, lies on its back, exposing its pale underside—organs, tentacles, grimacing face, and all. I can’t actually say that I’ve ever seen a skate’s “front,” but it sure looks like something from a sci-fi movie.
Another remarkable painting, small in size, is Skeletons Fighting Over a Pickled Herring (1891). Where do you even begin to parse the title, let alone the digest the bizarre depiction of it—apparently representative of critics picking apart his work? And yet it is a riveting composition, two boldly painted skeletons, one wearing a fur hat, in a dog-style tug-of-war with a fish, suspended in a cloud-puffed sky. It encapsulates Ensor’s oeuvre—strange, well executed, understandable perhaps only to the artist himself—and yet undeniably fascinating.
Image: Skeletons Fighting Over a Pickled Herring. 1891. Oil on panel, 6 5/16 x 8 7/16″ (16 x 21.5 cm). Musées royaux des Beaux Arts de Belgique, Brussels. © 2009 Artists Rights Society (ARS), New York / SABAM, Brussels
No comments:
Post a Comment