Richard Lewis, “Larry and His Navel” actor, died.

At the age of 76, the American comedian and actor, who had been afflicted with Parkinson’s disease, unfortunately passed away due to a heart attack that occurred at his residence in Los Angeles.

According to The Hollywood Reporter, Richard Lewis, who played Larry in the television series Larry and His Belly Button, passed away on Tuesday, February 28 at his home in Los Angeles as a result of a heart attack. An agent for him named Jeff Abraham and his wife, Joyce Lapinsky, have both verified his passing.

Joyce Lapinsky expressed gratitude to fans for “their love, friendship, and support.” Following his announcement in April that he was afflicted with Parkinson’s disease, the actor made the decision to retire from the acting profession.

In the event that the very young Ensor departed Brussels dissatisfied with his time spent at the academy, where he was deemed to be a poor painter but an excellent draftsman, and whom he ridiculed for his academicism (which he refers to as “a box for myopia”), the coastline connections with the capital would always go well (the voyage takes three hours and forty minutes at the time).

“James Ensor. Inspired by Brussels” is an exhibition that features 75 works by the “master of masks,” comprising 18 paintings, 24 drawings, and 33 prints. It is presented jointly by the Royal Museums of Fine Arts and the Royal Library at the palace of Charles de Lorraine, which is the exhibition venue of the XX group that Ensor co-founded.

Although the KBR’s collection of prints was formed in 1892, the collection of drawings began much later. The KBR’s collection of drawings contains no less than 23 pictures that encompass Ensor’s whole career.This is demonstrated by the exhibition; the acquisition policy has not been stopped since the end of the 19th century. Recently, the KBR and the MRBA have acquired two new designs together. One of these designs is a “Laocoon,” which is a drawing from the academy, and the other is a Napoleon that was inspired by Antoine Wiertz’s “View of Hell,” which depicts the Emperor being burned in hell.

In a museography that allows the works to breathe by spacing them out, while projecting a fervent and intimate light on one, the exhibition focuses on the early years of the artist and multiplies the famous masterpieces (the painting “The Bad Doctors”) and those who are much less celebrated, most notably this arrogant charcoal self-portrait from 1884, which has a pretension similar to that of Wiertz.

This period of youth, which is studied chronologically (the beginnings, the academy), as well as thematically (the XX, La Libre Esthétique), enables us to consider the various influences and sources of inspiration that the young Ensor was exposed to. These include Turner, whom he admires (“The edge of the woods in Ostend”), Bosch (“white and red clowns evolving”), Manet, Constantin Meunier (“The Lampist”), and Brueghel in “Devils thrashing angels and archangels,” which is a direct reference to “The Fall of the Rebel Angels.”

And it was in Brussels that James became aware of impressionism and social realism. It was at the Palace of Charles de Lorraine that he came to admire the etchings of Rembrandt, who was his greatest inspiration in this field. “The three crosses” of Rembrandt is displayed in the rooms where the cabinet was located prints at the time, and it is compared to Ensor’s first work. The painting “Satan and the Fantastic Legions Tormenting the Crucified” is a chiaroscuro example that demonstrates the impact of the Dutch master, such as that of Félicien Rops, on the subject matter of the painting.

This devil of a man (who presents himself as the misunderstood Christ in “The Multiplication of Fishes”), who smells of suffering and scandal, revolutionary at heart, provocative as can be, openly criticizing Leopold II in a drawing soberly entitled “Belgium in the 19th century”: the sovereign remains deaf to the demands of the people, particularly in matters of universal suffrage…

It is difficult not to discern in this “Pisseur” a reference to the most renowned of Brussels residents: “Ensor is mad,” he writes on one of his early etchings, which is located over a man’s back while he is urinating. Manneken-Pis, Inc.

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