European Art and Old Masters

Note

Known for his predilection for the macabre and death, James Ensor’s work was generally considered scandalous by his contemporaries. His favorite subjects ranged from carnivals and skeletons to masks and images of the dead. Ensor would often stage the scenes for his works in his studio by dressing up skeletons in bright colorful masks. His eccentricities allowed him to create a space where he could have complete artistic freedom. Towards the end of the 19^th century he began introducing religious themes in his works, leading to his large scale, controversial painting, Christ’s Entry Into Brussels in 1889.

In this intimate work Ensor manages to capture the final moments of a woman’s life- the artist’s own aunt (his mother's sister), Marie-Louise Haegheman - whom he lovingly called "Mimi" - and who passed away on April 11, 1916 a year after the death of the artist's mother's. Continuing his use of bold color, the red background is juxtaposed against the woman’s quiet figure. She is shown clutching a crucifix and has her eyes closed as if in prayer, leaving the viewer to question if the subject has already passed on. For a similar composition in oil by Ensor depicting the same subject, also executed in 1916, see Ma Tante Chérie, sold at Sotheby’s Amsterdam on December 17, 1996 (Lot 170).