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The Aesthetics of Self-Skeletonization in James Ensor

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The Aesthetics of Self-Skeletonization in James Ensor CLAIRE MORAN The Aesthetics of Self-Skeletonization in James Ensor Abstract: Through his self-portraits, the nineteenth-century Belgian painter James Ensor questioned both the boundaries of the self and the limits of modern art. Ensor’s fusing of the skeleton with the self- portrait in a series of drawings and paintings from the 1880s and 1890s results in a potent image of self-disintegration and self- dissolution; one which in turn theorizes the death of mimesis and the birth of a new way of seeing and representing reality. The trajectory from the homogeneous unified self to disintegrating skeleton goes hand in hand with the move from a representational to a grotesque art in Ensor. Drawing upon the Derridean model of self-inscription and Lacan’s definition of the scopic, this essay discusses specific stages in the painter’s transition from Realism to Expressionism. Skeletons abound in Symbolist art and literature, marking an obses- sion with death and decay, as well as masking a desire for l’au-delà redolent of a Post-Romantic generation. While the skeleton is part of a long-established allegorical tradition in Western painting, expressing man’s mortality and physical frailty, it was the Symbolists who made it their own. Most memorably rendered in Wiertz’s La belle Rosine (1847, Ixelles, Musée Ixelles), the motif of the skeleton inspired writ- ers and painters alike, such that Edgar Allan Poe, Arnold Böcklin, Villiers de L’Isle Adam and Odilon Redon all fell prey to its charms. Aubrey Beardsley played the piano accompanied by a skeleton, while Ernest Christophe’s Danse Macabre depicting a dancing skeleton in evening dress, inspired Baudelaire’s poem of the same name. The Claire Moran 240 Belgian painter, Félicien Rops was also a great amateur du squelette and his frontispiece to Baudelaire’s Épaves is one of the most salient examples of the potency of the skeleton motif within the nineteenth century word-image interface. Rops’s ‘passion du squelette’1 was also shared by one of his Belgian country-men, the painter, James Ensor (1860-1949). Generally perceived as the first Expressionist painter,2 Ensor was a Symbolist in his fascination with chiaroscuro, nuance and macabre flights of the imagination. He was essentially self-taught and did not adhere to any artistic school or manifesto. In his exploration of the expressive possibilities of paint, he is one of the most important pre- cursors of modern art, whose influence can be detected in artists from Emil Nolde and Georges Rouault to Jean Dubuffet and Pablo Picasso. His eccentricity was exacerbated by the contentious position he occu- pied in late nineteenth-century Belgian artistic circles. While he was one of the founding members of the artistic movement, Les XX and was much admired by Emile Verhaeren, Rops and Fernand Khnopff, Ensor’s understanding of modern art differed radically from that of many of his contemporaries. By the late 1880s, his works had been censured and rejected by the leader of Les XX, Octave Maus, with their grotesque iconography starkly opposing the prevailing Belgian artistic movements of Impressionism and Post-Impressionism which were culturally and ideologically subservient to the French model. Ensor’s challenging visual expression was complemented by his vitri- olic writings, which were published as Mes Écrits in 1921.3 Like many 1 See Francine-Claire Legrande, Le Symbolisme en Belgique (Brussels: Laconti, 1971), p. 34. 2 For a comprehensive study of Ensor’s art, see Robert Delevoy, Ensor (Antwerp: Fonds Mercator, 1981); Michel Draguet, James Ensor (Paris: Gallimard, 1999); Francine-Claire Legrand, Ensor, la mort et le charme, un autre Ensor (Antwerp: Fonds Mercator, 1993) and James Ensor (Brussels: La Renaissance du Livre, 1998); and Diane Lesko, James Ensor: The Creative Years (Princeton: Princeton University Press, 1999). 3 Ensor’s writings were mostly first presented as speeches at the various banquets he attended in the 1900s. While some of his articles were published in La Plume, the first complete edition was published in 1921 and was reprinted in 1974. The most recent edition of Ensor’s writings was published in 1999 by Labor, which also saw a complete edition of his letters (James Ensor, Lettre, (Brussels: Labor, 1999)), and which coincided with a large exhibition of his works at the Musées royaux des Beaux- Arts de Belgique to mark the fiftieth anniversary of the painter’s death (see Ensor, .
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