『James Ensor』 (MoMA 2009)

「Initially I very much liked Rembrandt, but much later I became attracted to Goya and Turner. I was fascinated by the discovery of two masters who were obsessed with light and ferocity. The extravagant inventions of Hieronymus Bosh and Pieter Bruegel also pleased me tremendously. I thought their works were better than those of other masters from the Flemish School.」
(James Ensor)


『James Ensor』
MoMA


The Museum of Modern Art, New York, 2009
208pp, 28.6x22.3cm, clothbound, dust jacket

Published in conjunction with the exhibition James Ensor, June 28-September 21, 2009, at The Museum of Modern Art, New York, organized by Anna Swinbourne, Assistant Curator, Department of Painting and Sculpture

162 color and 7 black-and-white illustrations



2009年、ニューヨーク近代美術館(MoMA)で開催されたアンソール展のカタログ。
角背布装上製本、カバー。
出品作カラー図版(Plates)97点。その他参考図版(カラー/モノクロ)多数。

アンソールの代表作というべき大作「キリストのブリュッセル入城」(油彩、ゲッティ・ミュージアム所蔵)は出品されなかったようで、本カタログには解説ページに小さい参考図版(カラー)で掲載されています。


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Contents:

Foreword (Glenn D. Lowry)
Acknowledgments (Anna Swinbourne)

ESSAYS
Meeting James Ensor (Anna Swinbourne)
James Ensor: Carnival of the Modern (Susan M. Canning)

PLATES
 1. The Rainbow (After the Storm), 1880, oil on canvas
 2. Chinoiseries with Fans, 1880, oil on canvas
 3. The Lamp-Lighter, 1880, oil on canvas
 4. Rue de Flandre in the Snow, 1880, oil on canvas
 5. Boulevard Van Iseghem in the Rain, 1880, oil on canvas
 6. A Colorist, 1880, oil on canvas
 7. Portrait of the Artist's Father, 1881, oil on canvas
 8. Portrait of the Artist's Sister, Marie, 1881, charcoal on wove paper
 9. Afternoon in Ostend, 1881, oil on canvas
 10. The Lady in Distress, 1882, oil on canvas
 11. Portrait of Willy Finch, 1882, oil on canvas
 12. Still Life with Vegetables, 1882, oil on canvas
 13. The Oyster Eater, 1882, oil on canvas
 14. The Drunkards, 1883, oil on canvas
 15. The Scandalized Masks, 1883, oil on canvas
 16. Sketchbook, 1883-96, India ink, pen, conte crayon, graphite, and black chalk on paper
 17. Self-Portrait with a Flowered Hat, 1883/88, oil on canvas
 18. My Portrait, 1884, charcoal and white chalk on paper
 19. Child with Doll, 1884/1886-89(?), oil on canvas
 20. Rooftops of Ostend (Grand View of Ostend), 1884, oil on canvas
 21. Skeleton Looking at Chinoiseries, 1885/1888, oil on canvas
 22. The Mystic Death of a Theologian (Elated Monks Claim the Body of the Theologian Sus Ovis, in Spite of the Resisting Bishop Friton or Friston), 1880/1885-86(?), pencil, charcoal, and black crayon on paper
 23. Brussels Town Hall, 1885, oil on canvas
 24. Christ Shown to the People and the Entry of Christ into Jersalem, 1887, black chalk on paper
 25. Christ's Entry into Jerusalem (recto), 1885, graphite and conte crayon on wove paper
 26. The Rising: Christ Shown to the People, 1885, black crayon and watercolor on paper
 27. The Lively and Radiant: The Entry of Christ into Jerusalem, 1885, black and brown crayon, with collaged paper mounted on canvas
 28. Christ Watched Over by Angels, 1886, black chalk on panel
 29. Calvary, 1886, pencil, crayon, and oil on paper
 30. The Devils Dzitts and Hihahox, Led by Crazon, Riding a Wild Cat, Leading Christ into Hell, 1886, pencil, conte crayon, black chalk, brown India ink, pen, and white gouache on Japan paper
 31. The Cathedral, plate I, state III, 1886, etching on Japan paper
 32. Hippogriff, 1880-83, black chalk on two sheets of paper, mounted on board
 33. Nude with Curtain, 1880-85, pencil and black chalk on paper
 34. The Flea, 1880-83/1888, black crayon on paper

ESSAYS
A View from Ostend (Jane Panetta)
Ensor: A Theater of Matter (Michel Draguet)
James Ensor's Vision of Nature (Robert Hoozee)
Ensor Is Eternal: The Painter and His Image (Laurence Madeline)
"Make Way for the Old Ones! Respect Defunct Schools!" Ensor and the Art-Historical Canon (Herwig Todts)

PLATES
 35. Children Dressing, 1886, oil on canvas
 36. Fireworks, 1887, oil and encaustic on canvas
 37. Tribulations of Saint Anthony, 1887, oil on canvas
 38. Adam and Eve Expelled from Paradise, 1887, oil on canvas
 39. My Portrait in 1960, state II, 1888, etching on wove paper
 40. Self-Portrait, c. 1888, pencil on panel
 41. Peculiar Insects, state III, proof no,8, 1888, drypoint on laid Japan paper
 42. The Pisser, only state, 1887, etching on simili-Japan paper
 43. The Strike (The Slaughter of the Ostend Fishermen [August 1887], 1888, pencil and colored pencil on paper
 44. Plague Above, Plague below, Plague All Around!, 1888, conte crayon and colored pencil on paper
 45. Death Pursuing the Human Flock (Triumph of Death), 1887, black crayon, ink, and colored pencil on paper
 46. Fight of the Down-and-Outs, 1887, black pencil on paper
 47. The Fight of the Angels and the Demons, 1888, colored crayon on paper
 48. The Haunted Fireplace, 1888, crayon and colored pencil on paper
 49. Demons Tormenting Me, 1888, graphite and black chalk on wove paper
 50. Skeleton Musicians, 1888, black pencil and brown chalk on paper
 51. Doctrinaire Nourishment, plate I, state II, 1889, etching heightened with watercolor and gouache on Japan paper
 52. Belgium in the Nineteenth Century, 1889, pencil and colored pencil on paper
 53. Masks Mocking Death (Masks Confronting Death), 1888. oil on canvas
 54. Skeletons Trying to Warm Themselves, 1889, oil on canvas
 55. The Tower of Lissewege, 1890, oil on canvas
 56. The Astonishment of the Mask Wouse, 1889, oil on canvas
 57. My Skeletonized Portrait, state I, unique impression, 1889, etching on wove paper
 58. My Skeletonized Portrait, state II, 1889, etching and drypoint on wove paper
 59. My Aunt Asleep Dreaming of Monsters, c. 1888, pencil, conte crayon, and colored pencil on paper
 60. Series of Small Masks, c. 1890(/), conte crayon on paper
 61. Skeleton Drawing Fine Pranks, c. 1889, black chalk, colored pencil, and gold paint on paper
 62. Skeleton in the Mirror, 1890, black crayon on paper
 63. White and Red Clowns Evolving, 1890, pencil, ink, and gouache on paper
 64. The Baths at Ostend, 1890, black crayon, colored pencil, and oil on panel
 65. The Assassination, 1890, oil on canvas
 66. The Intrigue, 1890, oil on canvas
 67. The Domain of Arnheim, 1890, oil on canvas
 68. Christ Calming the Storm, 1891, oil on canvas
 69. Self-Portrait at the Easel, 1890, oil on canvas
 70. Surly Countenance, 1890, oil on canvas
 71. Ensor and Leman Discussing Painting, 1890, oil on panel
 72. Skeletons Fighting Over a Pickled Herring, 1891, oil on panel
 73. The Grotesque Singers, 1891, oil on panel
 74. The Frightful Musicians, 1891, oil on panel
 75. Monsieur and Madame Rousseau Speaking with Sophie Yoteko, 1892, oil on panel
 76. The Man of Sorrows, 1891, oil on panel
 77. The Cuirassiers at Waterloo, 1891, India ink, crayon, colored pencil, and pastel on three sheets of paper, mounted on board
 78. The Wise Judges, 1891, oil on panel
 79. The Bad Doctors, 1892, oil on panel
 80. The Call of the Siren, 1891 or 1893, oil on panel
 81. The Virgin of Consolation, 1892, oil on panel
 82. The Skate, 1892, oil on canvas
 83. The Strange Masks, 1892, oil on canvas 
 84. The Melancholy Fishwives, 1892, oil on canvas
 85. The Despair of Pierrot, 1892, oil on canvas
 86. Icon (Portrait of Eugene Demolder), 1893, oil, pencil, and gouache on panel
 87. Pierrot and Skeleton in a Yellow Robe, 1893, oil on panel
 88. The Dangerous Cooks, 1896, pencil, gouache, and oil on board
 89. The Skeleton Painter, 1895 or 1896(?), oil on panel
 90. The Entry of Christ into Brussels, state III, 1898, etching heightened with watercolor on Arches laid paper
 91. Self-Portrait with Masks, 1899, oil on canvas
 92. Skeletons in the Studio, 1900, oil on canvas
 93. View of Mariakerke, 1901, oil on canvas
 94. At the Conservatory, 1902, oil on canvas
 95. The Banquet of the Starved, 1915, oil on canvas
 96. Moses and the Birds (The Finding of Moses), 1924, oil on canvas
 97. Self-Portrait with Masks, 1937, oil on canvas

Catalogue of the Exhibition (compiled by Blair Hartzell)
Chronology (compiled by Jane Panetta)
Bibliography (compiled by Blair Hartzell)
Lenders to the Exhibition
Photograph Credits
Trustees of the Museum of Modern Art



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◆本書より◆


「Meeting James Ensor」(Anna Swinbourne)より:

「Many scholars have seen Ensor's later habits of recycling as evidence of his artistic decline, for which they offer a variety of reasons. One of the most charitable, Libby Tannenbaum, suggests that after communicating so eloquently during the tumultuous and adversarial years of his youth, the artist consciously decided to develop another voice. He did in fact explore other art forms: taking an almost childlike delight in words and phonetic sounds, he did a great deal of writing, in the form of correspondence, speeches, or essays. He also used the black keys of his harmonium - he was superstitiously afraid of the white ones - to compose a ballet, La Gamme d'amour, for which he also created costumes and scenery.」

(多くの学者は後年のアンソールの画題の使いまわしを芸術的衰退のしるしとみなし、それについてさまざまな理由をあげているが、思いやり深いリビー・タンネンバウムは、若き日の混乱と対立のうちで意思疎通のための饒舌を弄したあとで、それとは違ったしゃべり方を開発しようと心に決めたのだろうと示唆している。実際にアンソールは別の芸術様式を試みており、言葉と音響に子どものような喜びを見出しつつたくさんの手紙や演説やエッセーを書いたり、ハーモニウムの黒鍵を使って(白鍵を弾くのはこわかったので)バレー(「愛の調べ」)を作曲し、そのための衣裳や背景もデザインしている。)


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