Elias Magnus Fries, the Swedish Mycologist 1886

James Ensor etched this portrait of Elias Magnus Fries, the Swedish mycologist, in 1888. The choice of subject is interesting. Fries was a towering figure in the field of botany, helping to develop the modern system of fungal taxonomy. But what was it that prompted Ensor, a Belgian artist known for his avant-garde style, to depict this somewhat obscure scientist? Consider the social context. In the late 19th century, scientific progress was transforming society. Perhaps Ensor was drawn to Fries as a symbol of intellectual pursuit or even as a challenge to the established academic order. As an artist, Ensor may have felt a kinship with the scientist, both engaged in a process of discovery and classification. Or maybe this was simply a commission, a way for Ensor to earn a living while pursuing his more radical artistic visions. To truly understand this piece, we need to delve into the archives, to explore Ensor's letters, the exhibition records of the time, and the broader cultural debates surrounding science and art. Only then can we begin to unravel the complex web of meaning embedded within this seemingly simple portrait.