Let the Little Ones Come to Me 1921

James Ensor created this lithograph, ‘Let the Little Ones Come to Me’, depicting a biblical scene, rendered with striking modern sensibility. At its heart is the iconic image of Christ, his figure almost dissolving into light, welcoming children—a symbol of innocence and purity. This motif of divine blessing echoes through time, from ancient Roman depictions of emperors bestowing favor to Renaissance images of saints offering solace. The gathering of figures around a central, radiant form is a composition as old as the hills. Think of sun gods or spiritual leaders, a visual language ingrained in our collective unconscious. Ensor, however, gives us something more complex: the radiant Christ, the focus of all attention, seems to be more of a looming presence than a beckoning man. What does this say about collective memory? Here, tradition is infused with a modern unease, a psychological depth charge that unsettles as much as it soothes. It reflects an understanding of how symbols evolve, their meanings never fixed, but constantly reshaped by the anxieties and aspirations of each new age.