L'Entree du Christ a Bruxelles [The Entry of Christ into Brussels]
© Artist's Estate

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L'Entree du Christ a Bruxelles [The Entry of Christ into Brussels] 1896
This etching is based on Ensor’s vast 1888 painting of the same subject. It shows the annual carnival in Brussels where a tiny figure of Christ on a donkey is swamped by a bulging mass of protestors with banners, carnival masks, and wearing contemporary dress. It is a modern reworking of the story of Christ’s entry into Jerusalem. Ensor was an atheist, but he used Christian motifs to express his contempt for what he saw as an increasingly inhumane world of political and social injustice. A number of the figures in the crowd are recognisable and include some of his friends and members of his family. The figure of Christ is a partial self-portrait; Ensor identified with Jesus as a victim of mockery, and a symbol of the poor and oppressed.

Glossary Open


A form of printmaking in which a metal plate is covered with a substance called a 'ground', usually wax, into which an image is drawn with a needle. Acid is applied, eroding the areas of the plate exposed but not the areas covered by wax. The action of the acid creates lines in the metal plate that hold the ink from which a print is made when the plate is pressed against paper under pressure.


A distinctive element in a work of art or design.

Etching, Motif


  • Acc. No. GMA 2285
  • Medium Etching on paper
  • Size Image size: 24.80 x 35.60 cm; paper size: 35.00 x 47.20 cm
  • Credit Purchased 1981