The Entry of Christ into Brussels 1898

James Ensor created the etching, ‘The Entry of Christ into Brussels.’ Painted in Belgium, a country struggling with its identity amidst political and social upheaval, Ensor channels personal and societal tensions into a carnival-esque parade. The year it was made, universal male suffrage was introduced, a groundbreaking moment for Belgian democracy. Ensor situates Christ within this radical, progressive moment. Yet, the masses overwhelm Christ, suggesting a chaotic and almost indifferent public sphere. Look closely, and you'll see a sea of faces, some wearing masks, others grotesque and exaggerated. These figures represent a cross-section of Belgian society, from the bourgeoisie to the working class, each vying for attention in this spectacle. As Ensor noted: "My intention has always been to paint humanity such as I see it: questioning, mocking, denouncing." Ensor's decision to depict Christ as a small, almost incidental figure challenges traditional religious representations, suggesting a crisis of faith in the modern world. The artist prompts us to question the relationship between the individual and the crowd, the sacred and the profane, and the personal and the political.