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In the course of the twentieth century, under the influence of the increasing success of Modernism, a misleading image of James Ensor emerged. One might even say that Ensor was confined within a modernist "straitjacket". In order to understand the artist's motivations, this book follows the advice given to the art critic André De Ridder by Ensor himself in 1930: "I recommend you re-read 'Les Écrits de James Ensor', where I explain my research and defend my ideas". Ensor's writings can roughly be divided into two categories, his letters and les écrits, encompassing his journalistic work, satirical exhibition reviews, comical speeches, words of thanks and praise, and open letters in brochures. The analysis of Ensor's writings is no small task, for he gave little attention to structure and coherence, and employed a complex "wondermiraclelikefulistic" language archaisms, neologisms, staggering vitriolic rants, hyperboles. Nevertheless, his writings are a crucial source of knowledge on his opinions on Christian faith, rationality, hypocrisy, the dangers of an emerging Flemish nationalism, animal cruelty, the destruction of natural beauty and ancient monuments, and a number of other topics.. In the course of the twentieth century, under the influence of the increasing success of Modernism, a misleading image of James Ensor emerged. One might even say that Ensor was confined within a modernist "straitjacket". In order to understand the artist's motivations, this book follows the advice given to the art critic André De Ridder by Ensor himself in 1930: "I recommend you re-read 'Les Écrits de James Ensor', where I explain my research and defend my ideas". Ensor's writings can roughly be divided into two categories, his letters and les écrits, encompassing his journalistic work, satirical exhibition reviews, comical speeches, words of thanks and praise, and open letters in brochures. The analysis of Ensor's writings is no small task, for he gave little attention to structure and coherence, and employed a complex "wondermiraclelikefulistic" language archaisms, neologisms, staggering vitriolic rants, hyperboles. Nevertheless, his writings are a crucial source of knowledge on his opinions on Christian faith, rationality, hypocrisy, the dangers of an emerging Flemish nationalism, animal cruelty, the destruction of natural beauty and ancient monuments, and a number of other topics.

Kunstesthetica --- kunstkritiek --- Ensor, James --- Ensor, James, --- Aesthetics of art --- art criticism --- Ensor, James, 1860-1949 --- Kritiek en interpretatie --- Painting, Belgian --- Modernism (Art) --- Art appreciation. --- Peinture belge --- Painting, Belgian. --- Authorship. --- Criticism and interpretation. --- Written works. --- Critique et interprétation. --- Écrits. --- 1800-1999. --- Belgian painting --- La Plume (1911-1914) --- Les Vingt (1883-1893) --- briefwisseling --- modernisme --- satire --- De Maeyer, Marcel --- De Ridder, André --- Demolder, Eugène --- Fraenger, Wilhelm --- Galenson, David --- Haesaerts, Paul --- Legrand, Francine-Claire --- Lemmen, Georges --- Ostaijen, Paul van --- Redon, Odilon --- Rembrandt van Rijn --- Vanbeselaere, Walther --- Verhaeren, Emile --- 19de eeuw --- 20ste eeuw --- Ensor, James Sydney --- Ensor, James Sydney Edouard --- historische gebeurtenissen en situaties (spotprent, satire van een historische gebeurtenis) --- van Ostaijen, Paul --- Rembrandt --- Les Vingt (1883-1893). --- La Plume (1911-1914). --- historische gebeurtenissen en situaties (spotprent, satire van een historische gebeurtenis). --- kunstkritiek. --- briefwisseling. --- modernisme. --- Ensor, James. --- Demolder, Eugène. --- Verhaeren, Emile. --- van Ostaijen, Paul. --- De Ridder, André. --- Fraenger, Wilhelm. --- Galenson, David. --- Redon, Odilon. --- Lemmen, Georges. --- Legrand, Francine-Claire. --- Vanbeselaere, Walther. --- Haesaerts, Paul. --- De Maeyer, Marcel. --- Rembrandt. --- 19de eeuw. --- 20ste eeuw.