Inside the show: James Ensor by Luc Tuymans
Inside the show: James Ensor by Luc Tuymans
By Amy Macpherson
Published 24 November 2016
Take a look at some of the key works in ‘Intrigue: James Ensor by Luc Tuymans’ in these short videos.
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The Skeleton Painter
Curator Adrian Locke introduces James Ensor’s ‘The Skeleton Painter’, 1896.
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Adam and Eve Expelled from Paradise
Curator Adrian Locke introduces James Ensor’s ‘Adam and Eve Expelled from Paradise’, 1887.
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The Artist Surrounded by Evil Spirits
Curator Adrian Locke introduces James Ensor’s ‘The Artist Surrounded by Evil Spirits’, 1898.
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The Intrigue
Curator Adrian Locke and the exhibition’s curator, artist Luc Tuymans, talk about James Ensor’s ‘The Intrigue’, 1890.
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Intrigue: James Ensor by Luc Tuymans is in The Sackler Wing of Galleries at the RA until 29 January 2017.
Read more
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![Installation image of the Intrigue: James Ensor by Luc Tuymans exhibition showing Ostrich feather headdress worn by the Gilles de Binche on the morning of Shrove Tuesday in the foreground, and Large View of Ostend (Rooftops of Ostend) by Ensor, 1884, in t]()
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Intrigue: James Ensor by Luc Tuymans: podcast round-up
Three podcasts explore the work and life of James Ensor, with the RA’s Senior Curator, Adrian Locke, contemporary Belgian painter, Luc Tuymans, and conservator Herwig Todts offering a closer look at Ensor’s eclectic career.
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![James Ensor, Self-portrait with Flowered Hat (detail)]()
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Dreams, demons and seismic doodling: Timothy Hyman RA on James Ensor
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![Unknown photographer, James Ensor in the Dunes (detail)]()
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“I’m a creampuff gone rotten” – James Ensor on art and life
An anti-establishment artist with plenty to say, James Ensor’s scribblings are just as eccentric as his paintings. As an insight into his whimsical works, here’s a selection of Ensor’s inner musings – on art, critics and his naughty pug.
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![Luc Tuymans, Untitled]()
RA Exhibitions
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Luc Tuymans on Brexit, Ensor and the establishment
Belgium’s leading contemporary painter, who curates the RA’s James Ensor exhibition, tells Sam Phillips why it is time to reassess Ensor’s art.
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