It is the end of the century. In Brussels, Belgium, a large crowd is in procession disguised as skeletons or wearing masks, while a contemporary Jesus Christ rides on a donkey with one raised hand. Participants nearby are waving flags with slogans including “Christ, the King of Brussels” and “Viva Socialism.” In truth, Christ entered the holy city of Jerusalem around 2,000 years ago. Lamenting his own hardships, the heretical artist Ensor has audaciously projected himself onto the form of Christ—the “King of Brussels”—as making a triumphal return to the city while he continued to receive harsh criticism in real life. Is this resentment, or anger? Or perhaps megalomania? The precise and fantastical line work on this small picture surface transforms it into a world full of feverish energy.
