June 13, 2012–January 7, 2013
These etchings exemplify James Ensor’s use of grotesque details and fantastical symbolism to satirize the social and political foibles of his day. In these works Ensor suggests that humankind’s excesses will come to no good, a theme that prevails in many of his paintings and works on paper. As a printmaker, Ensor worked mainly in etching, a fine linear technique that suited his compulsion for bizarre and meticulous details. His prints are well represented in MoMA’s collection, which includes 56 of the 140 prints he made during his lifetime. Ensor printed his etching plates on demand, often over the course of several decades, and he occasionally hand colored impressions of certain prints with watercolor and colored pencil—one of the most distinctive aspects of his approach to printmaking. Prior to acquiring these examples in 2011, MoMA owned only a few of the artist’s hand-colored etchings.
James Ensor. The Deadly Sins Dominated by Death (Les Péchés capitaux dominés par la mort) from The Deadly Sins (Les Péchés capitaux). 1904
James Ensor. Gluttony (La Gourmandise) from The Deadly Sins (Les Péchés capitaux). 1904 (portfolio published 1904)
James Ensor. Sloth (La Paresse) from The Deadly Sins (Les Péchés capitaux). 1902 (portfolio published 1904)
James Ensor. Pride (L'Orgeuil) from The Deadly Sins (Les Péchés capitaux). 1904 (portfolio published 1904)
James Ensor. Anger (La Colère) from The Deadly Sins (Les Péchés capitaux). 1904 (portfolio published 1904)
James Ensor. Avarice (L'Avarice) from The Deadly Sins (Les Péchés capitaux). 1904 (portfolio published 1904)
James Ensor. Envy (L'Envie) from The Deadly Sins (Les Péchés capitaux). 1904 (portfolio published 1904)
James Ensor. Lust (La Luxure) from The Deadly Sins (Les Péchés capitaux). 1888 (portfolio published 1904)
