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Skeletons disputing before a hanged man (1891). by James Ensor. In the Koninlijk (?) museum Voor de Kunsten, Antwerp. This artist only became a national of the country with which he is associated in 1929, when he was well into his 60s. Known for works with dramatic imagery and strong emotional impact, he was a main influence on the German Expressionists, especially Emil Nolde. Among the grotesque figures that recur in his works are masks and skeletons, typified by 1891's Skeletons Fighting for the Body of. a Hanged Man. Belgian artist, perhaps best known for Christ's Entry into Brussels in 1889. ©Topham.

Skeletons disputing before a hanged man (1891). by James Ensor. In the Koninlijk (?) museum Voor de Kunsten, Antwerp. This artist only became a national of the country with which he is associated in 1929, when he was well into his 60s. Known for works with dramatic imagery and strong emotional impact, he was a main influence on the German Expressionists, especially Emil Nolde. Among the grotesque figures that recur in his works are masks and skeletons, typified by 1891's Skeletons Fighting for the Body of. a Hanged Man. Belgian artist, perhaps best known for Christ's Entry into Brussels in 1889. ©Topham.
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Skeletons disputing before a hanged man (1891). by James Ensor. In the Koninlijk (?) museum Voor de Kunsten, Antwerp. This artist only became a national of the country with which he is associated in 1929, when he was well into his 60s. Known for works with dramatic imagery and strong emotional impact, he was a main influence on the German Expressionists, especially Emil Nolde. Among the grotesque figures that recur in his works are masks and skeletons, typified by 1891's Skeletons Fighting for the Body of. a Hanged Man. Belgian artist, perhaps best known for Christ's Entry into Brussels in 1889. ©Topham
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Tamaño imagen:
4961 x 3931 px | 55.8 MB
Tamaño impresión:
42.0 x 33.3 cm | 16.5 x 13.1 in (300 dpi)
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