The Social Context of James Ensors Art Practice: Vive La Sociale!

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Vive la Sociale: This rousing, revolutionary statement, written on a bright red banner across the top of James Ensors monumental painting Christs Entry into Brussels in 1889, stood 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. Serving, too, as inspiration for this original survey of Ensors art, which highlights the social concerns and cultural contexts of the artist as he navigated a rapidly modernising Belgium, this statement situates Ensor in the unique social contexts of his time. Ensors interaction with the Belgian art world, and, in particular, the avant-garde art group Les XX and engagement with progressive art, science, politics and current events are discussed in-depth. Combined with analysis of the artists self-portraits and depictions of women, this new study presents Ensor 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 artists artist invites a re-evaluation not only of Ensors social context and expressive critique but also his unique contribution to modernist art practice. Lavishly illustrated with colour images of Ensor's bold figurative paintings, this book will be an important resource for artists, scholars and those interested in European modernism. Given Ensor's legacy of resistance, self-fashioning and performance through boundary-breaking art practice, his work remains all the more relevant today.

Reviews

This lucid and engaging book locates James Ensors work squarely within the realms of masquerade (societal, ideological, and artistic); the political, social, gender, and sexual dynamics in fin-de-sicle Belgium; and the artist's network of intellectuals. Canning eloquently reveals a new Ensor connected, vigilant, endlessly transgressive, and always poignant. * Patricia G. Berman, Theodora L. and Stanley H. Feldberg Professor of Art, Wellesley College, USA *
The monumental and complex painting, Christs Entry into Brussels in 1889, introduces this keen-eyed, meticulously researched and multi-themed exploration of Ensors artworks; a book that offers compelling new perspectives on their genesis in his contemporary social, cultural and political world. * Gloria Groom, Chair and David and Mary Winton Green Curator, The Art Institute of Chicago, USA *

Author Bio

Susan M. Canning is an independent art historian based in New York, USA.