恩索爾藝術中的恩索爾

Abstract

This research analyzes in terms of iconography to reveal the purpose of his self-imaging. In Ensor's works with subjects taken from the Holy Bible, he used the suffering of Christ as a metaphor of innuendo for his situation in the Belgian art world. From L’Entrée du Christ à Bruxelles en 1889 and L’Entrée du Christ à Bruxelles en 1898, he specifically changed these titles and, with relevant hints in his writing, further verifies my inference that Ensor was depicting himself as Christ. These works also implied that Ensor supported social movements and opposed the Neoimpressionists. Ensor not only described his predicament with the Belgian art world as a metaphor with Christ, but also created Les Cuisiniers Dangereux (The Dangerous Cooks). In it, he is embodied as a "smoked herring," the meticulous composition and meaningful role revealing the relation among Ensor and other artists and the founder of Les XX in the Belgian art world. While many scholars argue that there are two "dangerous cooks" in this work, my research suggests that there is yet another "dangerous cook" hiding in this work.