An opinionated portraitist

James Ensor

James Ensor was not particularly fond of the portrait genre. He preferred to portray himself, his own genius and ego. After all, other sitters hoped for an idealized version of themselves, and for the painter to cover up any flaw of nature. Instagram filters are timeless. None of that, however, for James Ensor, who took too much pleasure in highlighting the least flattering features of his models.

James Ensor - The Lady in Blue (Portrait of Madam Duhot) (1906)

The Lady in Blue


The lady in blue is sitting a bit lost in an oversized chair, in an oversized dress. A tiny foot and two bony hands emerge from the cloud of lace and tulle. The frail woman holds herself bravely with her head held high. She has the will, but her gaze has lost its focus on a life already lived – now just let’s sit through this posing session.

As she gradually disappears into eternity, the lady is absorbed into the horror vacui of the room, as if she were one of the many trinkets that adorn the decor. Ensor pays her hardly more attention than the wainscoting or the curtain. The accessories are striking: a caged bird for the limitation of mobility and zest for life, picked flowers for the finitude of beauty. Soon they will wither.

This portrait was created in 1906, when Ensor's career was at its peak. In 1903 he got a Knighthood in the Order of King Leopold. Now that the artist had acquired great name and fame, being portrayed by the grand master added value to those who could afford it. The sitter thus gained a spot in the entourage of the famous Ensor.

Even though he embellished the portrait with a hefty dose of irony.

James Ensor

Letters to Emma Lambotte


James Ensor describes the painting in his letters to Emma Lambotte:

(Ostend, 3-11-1906)

“Back in Ostend, I started the portrait of the lady in question.

She struck a pretty languid pose. Pale blue dress. Bare arms, slender, dangling hands. Sickly expression, these are beautiful elements for a portrait, so I'm pleased with how the portrait is shaping up. The lady was very eager to be painted by me, and even had her husband call Brussels, Antwerp and even your place to get my address. A thousand apologies, Madam !”

 

(Ostend, 13-11-1906)

“[…] The portrait of the lady is nearly finished, and she is delighted with it. I have worked very carefully and meticulously on the head and the hands, the effect is pleasing: a pale greenish-blue dress, against a dark red background with heavy draperies. The hands are long and elegant, the lady is reclining in a large antique armchair, which creates a very happy and original effect. I regret that I cannot show you this portrait.”

 

(Ostend, 26-11-1906)

“[…] I had some delay with the portrait of the lady. I had to interrupt the sessions because the lady was feeling sicker. Now I can continue and I will soon finish the portrait, and everyone is satisfied with my painting, one of my good ones, I believe, because I treated it with the greatest care.”

 

(“James Ensor. Lettres à Emma Lambotte 1904-1914” Danielle Derrey-Capon, La Renaissance du Livre, Brussels 1999, p. 113-117)