And the painting's uncompromising modernity, often linked to the Belgian anarchist movement, is one from which Ensor would soon retreat.
Ensor's painting may summon his country's struggle against economic and political oppression.
Aziz may have knowledge about the fate of top Iraqi leaders, including Saddam, a U.S. official told CNN National Security Correspondent David Ensor.
After a period of study and early work in Brussels, Ensor at the age of 20 retreated to the quiet seaside town of Ostend.
In Ensor's "Entry, " the rebuke is clear: The dots of color that trace the path of Ensor's parade dissipate into infinity and nothingness in the distance.
The Belgian Symbolist artist James Ensor (1860-1949) was an odd man out in late-19th-century vanguard painting, and his best work is nearly as dense and bewildering today.
"Paypal has realised that you don't have to have contactless NFC technology to make a mobile payment in a store, " Forrester's research director Benjamin Ensor told the BBC.
The painting's panoramic scale, the proximity and wealth of its detail, and the drumbeat advance of Ensor's dystopian horde force the spectator to scramble to take it all in.
National Security Correspondent David Ensor contributed to this report.
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The researchers Katherine Ensor and Loren Raun cross referenced the time and place of the cases against air pollutant levels recorded by the extensive network of air monitors throughout the Houston area.
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Rather than depicting a specific location, Ensor offers a telling amalgam and carnivalesque inversion of an entire genre that, as articulated by the French poet Charles Baudelaire, celebrated the spectacle of modern urban life.
Although Ensor had helped found the avant-garde Belgian coalition Les XX in 1883, his "Entry" was deemed too radical for exhibition five years later by his cohorts, whose aesthetic tended more toward French Impressionism.
The painting's brutalized characters, drawn from history, the Bible, popular culture and even Ensor's family, align the Symbolist artist with a satiric tradition that includes such earlier Northern painters as Hieronymous Bosch and Pieter Bruegel.
Benjamin Ensor, research director at tech specialists Forrester Research, said we were seeing the emergence of "digital-wallet wars" as telecoms, banking services and technology companies all sought to carve out a share of the nascent market.
It is considered a self-portrait and along with the painter's red signature at right, the sanguine "XX" insignia at far left, and the painting's prospective date suggests Ensor's intent to cast himself as the true prophet of the art to come.
Ensor's parade may well reflect the tradition of religious processionals, including the bawdy rites of Mardi Gras, and the more secular, nationalist pageantry of "Joyous Entry" paintings that for centuries had commemorated the triumphant return of militia or monarchs to their capital cities.
Raun and Ensor conclude that federal air quality standards are adequate where ozone levels are concerned (at 75 parts per billion), but that lives would be saved if particulate matter standards were tightened below the current level of 35 micrograms per cubic meter of air.
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But the Getty Museum's acquisition in 1987 of "Christ's Entry into Brussels in 1889" painted when Ensor was just 28, and kept by the hermetic artist until his death has allowed visitors to the Los Angeles museum to see the brash young painter in a brilliant new light.
The haunting effect of Ensor's sea of masked figures, who cascade toward us on a surging, endless tide, is due in part, as the art historian Patricia Berman has described, to the collapsing perspectives and multiple viewpoints the artist employed to create a sense of chaos.
As we scan the crowd, our gaze is akin to that of the costumed characters on the viewing platform at right, but quickly shifts to eye level as the foreground gives way to some of Ensor's most frightening and crudely painted figures a top-hatted skeleton, a swollen prelate, ghoulish clowns, and grimacing, disembodied masks who threaten to spill into our space.
After the canvas was cleaned, it became clear that Ensor's nightmarish vision of a boisterous city boulevard teeming with banners, placards and a massed, modern rabble was shaped not only by the artist's deep-seated pessimism but by his critical view of contemporary art, captured here in dazzling displays of virtuoso painting that are as variable, original and richly parodic as the painter's darkly comic brigade.
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