This book reveals that James Ensor did not develop his fantastic
and grotesque universe of masks and skeletons out of his
melancholic soul, but that he re-used and transformed an old image
tradition that was collected and published by the French author and
art critic Jules Champfleury in his History of Caricature. A second
essay analyses how these weird creatures infiltrate the image
borders and the frames of Ensor's paintings in order to disturb the
'normal' world.
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