Ad Stijnman

James Ensor (1860–1949) was a Belgian painter known for his provocative and innovative works, often featuring masks and grotesque figures. Through mediums like etching and lithography, Ensor delved into themes of existential exploration and the macabre. His graphic oeuvre showcases his mastery of line and form, inviting us into a realm where masks, skeletons, and surreal landscapes converge to challenge conventions and provoke thought. But how did Ensor make prints? What techniques did he use? Which old masters inspired him and in what way did he experiment with this medium? James Ensor and the Graphic Experiment gathers the most remarkable results of Ensor's graphic experiments: preparatory drawings, copper plates and various states of prints. Image © Museum Plantin-Moretus, Antwerp

Etching, the origins of which as an intaglio technique can be traced back to the beginning of the 16th century, unfolded its full glory in the 17th century. Famous engravers such as Albrecht Dürer had rejected etching as an inferior technique to copperplate engraving, but a century later it experienced its Baroque heyday. The etching technique owes its albeit late success to the freedom of its lines. Unlike the laborious method of copperplate engraving, the artist’s hand can playfully transpose the drawing onto the etching plate with ease. This catalogue provides fascinating insights into the working processes and aesthetics of Baroque printmaking. The focus is on works by three artists who excelled in the etching technique: Jacques Callot, Stefano della Bella and Giovanni Benedetto Castiglione. Exhibition: 8. September to 3. December 2023, Landesmuseum Mainz New state of research on Baroque etching Look inside