De hoogmoed 1904

Curator: Here we have James Ensor's "De hoogmoed," or "Pride," an etching dating from 1904. It’s quite a striking composition. Editor: Oh, wow, what a fantastically grotesque gathering! It hits you with such an unsettling, carnival-esque feeling, like a dark joke played on humanity. Curator: Indeed. Ensor was very interested in the symbolic possibilities of printmaking, particularly etching. We can see that he explored that by deploying etching's graphic capabilities in a social caricature about the theme of pride. Editor: There's so much to unpack here, literally layers of bizarre characters and grim symbols. The central figure radiates this puffed-up arrogance, surrounded by these almost zombie-like figures. What's the story here? Curator: Ensor uses his characteristic visual vocabulary to express his disapproval of society’s elite at the time. His usage of the medium here—the etching marks—creates a textured, almost feverish surface. This reinforces the social critique he offers by showing a society filled with prideful figures whose attitudes affect the livelihoods of everyday people. Editor: It’s brilliant how the vibrant colors juxtapose with the macabre subject matter, creating this uncomfortable tension. I can almost hear the cackling. It feels like a condemnation and an absurd dance all in one. I’d like to imagine Ensor laughing maniacally as he was making it. Curator: I agree! And he seems to be reminding us of what happens when pride overshadows empathy, producing this dark and strangely comic mirror held up to society. Editor: Well, it's a great demonstration of how a simple etching, through a great artist's skillful use, can be more potent than a sermon. I feel provoked, amused, and just a tad bit disturbed all at once. Curator: An effect undoubtedly intended by Ensor himself. By examining Ensor's etching and understanding how its technical production results in a critique about class, the themes and figures depicted can tell us much about Ensor's place in his time.