Christ's Entry into Brussels in 1889

James Ensor, Christ's Entry into Brussels in 1889 (1888) 

Amidst all the hustle and bustle of the self-important folks, it's hard to pick out the carpenter on a donkey. 

The Intrigue

James Ensor, The Intrigue (1890) 

Ensor regularly depicted his characters with grotesque masks, as if they were members of some surreal carnival. While a mask is intended to hide who we are, it can have an uncanny way of actually revealing who we are. 

The scene was apparently inspired by the gossip about a scandalous marriage in Ensor's family, showing how we love to pervert what ought to be beautiful. 

Skeletons Fighting Over a Hanged Man

James Ensor, Skeletons Fighting Over a Hanged Man (1891) 

Critics debate whether this painting represents Ensor's mistresses arguing over him, or the battle between art critics about the merits of his work. 

It could be both of these, but I ultimately see the pettiness and futility of all human conflict. 

Skeletons Warming Themselves

James Ensor, Skeletons Warming Themselves (1889) 

Vanity of Vanities! All is Vanity! 

Plague Below, Plague Above, Plague Everywhere

James Ensor, Plague Below, Plague Above, Plague Everywhere (1904) 

Dress it up however you wish, fancy or plain, but decay is a very part of all things. 

Christ Tormented by Demons

James Ensor, Christ Tormented by Demons (1895) 

For an artist who had rejected Christianity, Ensor certainly had quite the grasp on the depths of Christ's suffering. 

Demons Taunting Me

James Ensor, Demons Taunting Me (1895) 

Your mileage may vary, but I know few works of art that so exquisitely portray the assault of troublesome impressions. 

James Ensor, The Seven Deadly Sins

James Ensor, The Seven Deadly Sins (1904) 

Pride 

Lust 

Gluttony 

Greed  

Sloth 

Anger 

Envy 

Death Dominating the Deadly Sins 

Death Chasing the Flock of Mortals

James Ensor, Death Chasing the Flock of Mortals (1896)