James Ensor, Christ's Entry into Brussels in 1889
(pomf.lain.la)https://pomf.lain.la/f/0gb1p2k7.jpgOne of Ensor's most famous and challenging paintings is Christ's entry into Brussels in 1889. The painting was intended to be a mock prophecy, a schedule for the Second Coming. The thick crowd of the faithful carries Jesus through the streets like a trophy (he's in the center with a five-ring halo).
In medieval religious precessions, people shouldered images of Jesus or saints through densely crowded streets, but in a spirit of reverence. Here the entire mob is dressed for a masquerade. But the masks appear to be their real faces. Perhaps it's their faith that's a masquerade. The red banner over the crowd states "Vive la Siciale" which translates to "Long live the welfare state". On the right, someone holds up a red sign that translates, "Long live Jesus, king of Brussels." The mob is poised to march right out of the painting into the viewer's world.
In 'The Entry of Christ into Brussels' Ensor wanted to criticize the church, the army and the state, the entire bourgeoisie; it is a satire, a grotesque, a parody.
Supposing that 'The Entry of Christ into Brussels' were a plastic testimony to an authentic and critical attitude to life, the artist later exchanged this for arivism and success.
The 'Ensorian psyche': a dubious psyche, in my opinion.
