100 Belgian Francs banknote 1995 James Ensor

Belgium Banknotes 100 Belgian Francs banknote 1995 James Ensor
Belgium Money Currency 100 Belgian Francs banknote 1995 "The Baths of Ostend" by James Ensor
Belgium Banknotes 100 Belgian Francs banknote 1995 James Ensor
National Bank of Belgium - Nationale Bank van België - Banque nationale de Belgique

Obverse: Portrait of Belgian painter and printmaker James Ensor (1860 - 1949). Altered fragment from the painting "Masks and Death" (Dood en de Maskers) by James Ensor. Fan. Feathery big-nosed mask.
Reverse: Fragment from "The Baths of Ostend" (De Baden van Oostende; Les bains à Ostende) by James Ensor; etching in Japanese paper, 1899. Stylised bathing machines (bathing huts).
Watermark: Effigy of James Ensor in 1/2 profile and his autograph.
Work by: K. Ponsaers (Inv. - Sketch authors, designers); Benoît Gregoire (Sculp. - Engraver).
Main colour: Red-violet.
Signatures: Françoise Masai (De Schatbewaarder - Le Tresorier - Der Schatzmeister); Guy Quaden (De Gouverneur - Le Gouverneur - Der Gouverneur). Date of issue: 15 June 1995.
Dimensions: 139 x 76 mm

Texts: Nationale Bank van Belgie. Honderd Frank. Banque Nationale de Belgique. Cent Francs.
Belgische Nationalbank. Hundert Franken. National Bank of Belgium. One Hundred Francs.

Belgian banknotes - Belgium paper money
1994-2001 Issue

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James Ensor
James, Baron Ensor (born April 13, 1860, Ostend, Belg.—died Nov. 19, 1949, Ostend), Belgian painter and printmaker whose works are known for their bizarre fantasy and sardonic social commentary.
   Ensor was an acknowledged master by the time he was 20 years old. After a youthful infatuation with the art of Rembrandt and Rubens, he adopted the vivacious brushstroke of the French Impressionists.
   When Ensor’s works were rejected by the Brussels Salon in 1883, he joined a group of progressive artists called Les Vingt (The Twenty). During this period, in such works as his “Scandalized Masks” (1883; Musée Royal des Beaux-Arts de Belgique, Brussels), he began to depict images of grotesque fantasy—skeletons, phantoms, and hideous masks.
   Ensor’s interest in masks probably began in his mother’s curio shop. His “Entry of Christ into Brussels” (1888; Musée Royal des Beaux-Arts, Antwerp), filled with carnival masks painted in smeared, garish colours, provoked such indignation that he was expelled from Les Vingt.
   Ensor, nevertheless, continued to paint such nightmarish visions as “Masks (Intrigues)” (1890) and “Skeletons Fighting for the Body of a Hanged Man” (1891; both in the Musée Royal des Beaux-Arts, Antwerp). As criticism of his work became more abusive, the artist became more cynical and misanthropic, a state of mind given frightening expression in his “Portrait of the Artist Surrounded by Masks.” He finally became a recluse and was seen in public so seldom that he was rumoured to be dead.
   After 1900 Ensor’s art underwent little change. When, in 1929, his “Entry of Christ into Brussels” was first exhibited publicly, King Albert of Belgium conferred a barony on him.