by Tom Gurney
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
Page Created on August 30, 2026 / Page Updated on November 6, 2026
Email: tomgurney1@gmail.com / Phone: +44 7429 011000
Christ's Entry into Brussels in 1889: Introduction
At more than four metres wide, James Ensor’s Christ’s Entry into Brussels in 1889 has the scale of a civic mural and the visual pressure of a street that has become too crowded to cross. Faces surge along the lower edge, banners slice across the upper half, and brass instruments, hats and raised arms interrupt almost every route into depth. The title promises Christ, yet finding him takes time. Near the centre, far behind the largest heads, a small rider marked by a yellow halo is almost swallowed by the procession.
That imbalance is the painting’s first provocation. Ensor gives enormous space to spectators, performers and public messages while making the ostensible hero easy to overlook. Painted in 1888, the work brings a biblical entry, a future Brussels carnival and a modern political demonstration into the same invented event. It is comic, abrasive, devotional and sceptical without settling into any one of those modes.[1]
At a Glance
- ArtistJames Ensor (1860–1949), the Ostend painter and printmaker.
- Date1888; the “1889” in the title belongs to the imagined occasion, not the date of execution.[1][2]
- MediumOil on canvas, with varied brushwork and marks made using other painting tools.[2][3]
- Dimensions252.6 × 431 centimetres, or roughly 8 feet 3 inches by 14 feet 2 inches.[2]
- CollectionJ. Paul Getty Museum, Los Angeles, accession number 87.PA.96.[2][4]
- SubjectChrist enters a fantastical modern Brussels through a carnival crowd filled with banners, masks, uniforms and caricatured faces.
James Ensor in context
The Oyster Eater
1882Self-Portrait with Flowered Hat
c. 1885–88The Intrigue
1890Contents
- Introduction
- An Event Dated 1889, a Painting Made in 1888
- A Route Through the Crowd
- Carnival, Religion and Public Procession
- Christ and the Artist’s Partial Self-Identification
- Belgian Politics without a Single Party Line
- Deliberate Disorder: Drawing, Tools and Colour
- Les XX and the Delayed Public Exhibition
- The 1898 Etching and the Painting’s Changed Words
- Provenance, Present Home and Modern Importance
An Event Dated 1889, a Painting Made in 1888
The two dates describe different things. Ensor completed the canvas in 1888 but titled it as an entry into Brussels in 1889. He was not recording a procession that had already happened. The later year projects the biblical arrival into an imagined near future, giving the scene the anticipatory charge of a public announcement or political poster.[1] Calling it an 1889 painting removes precisely that tension.
The biblical point of departure is Christ’s entry into Jerusalem, traditionally remembered on Palm Sunday. Ensor relocates the episode to contemporary Belgium, but the result is not a straightforward modern-dress illustration. There are no palms establishing a faithful scriptural reconstruction, and the city is less a mapped Brussels street than a compressed arena of modern public life. A red banner at the right acclaims Jesus as king of Brussels, while another across the top carries “Vive la Sociale.” The wording makes sacred arrival, popular sovereignty and social agitation collide rather than align neatly.[1][4]
The title therefore works like a hinge. “Christ’s Entry” raises expectations of recognition and welcome; “Brussels” brings that sacred narrative into Ensor’s own national present; “in 1889” makes the scene speculative. The painting imagines what a modern public might do with a spiritual figure and answers by showing attention dispersed among noise, entertainment, institutions and slogans.
A Route Through the Crowd
Begin at the bottom edge, where the procession appears to break through the picture plane. The largest faces do not form a polite row of portraits. Some are masked; others have skin, eyes and mouths treated so abruptly that they acquire a mask’s fixed expression. Bright hats and bits of costume prevent the foreground from becoming a single dark barrier. Even so, its scale makes the viewer feel less like an observer above the event than a body about to be pressed into it.
Moving upward reveals bands within the mass. A uniformed group carries instruments; a figure dressed as a bishop conducts with a baton; signs and standards float above the heads. Getty identifies the mock bishop as Émile Littré, the French philosopher and social reformer, but such names should be treated as attributed identifications rather than a key to every face.[3] Ensor includes recognizable public types, possible likenesses, friends and relatives alongside grotesques and inventions. The painting does not require a complete cast list to make its social force legible.
The red horizontal banner near the top is both language and architecture. It caps the crowd while its letters compete with faces for attention. At the right, another red placard announces Jesus as Brussels’s king. A diamond-shaped sign to the left praises doctrinaire fanfares. The accumulated lettering resembles street advertising, political placards and ceremonial decoration at once.[4] Public speech is everywhere, but no speaker controls it.
Only after crossing these obstructions does Christ emerge. He rides beneath the central banner, marked by a fine yellow halo and a patch of red. His scale follows the depth of the procession, yet his smallness is also conceptual: he has almost no command over what bears his name. The route from looming foreground heads to distant rider turns looking into an ethical problem. Spectacle monopolizes attention; significance must be searched for.
This arrangement anticipates the claustrophobic half-length encounter of The Intrigue and the tighter ring around a central figure in Masks Confronting Death. Here, however, the multiplication of bodies is vast enough to behave like an urban environment.
Carnival, Religion and Public Procession
Mardi Gras supplies one of the scene’s governing rhythms. Costumes, masks, mock dignitaries and a marching band belong to a festive world in which ordinary ranks can be parodied for a day. Carnival does not simply decorate the biblical subject. It makes roles reversible: an atheist can dress as a bishop, a painted face can look more forceful than a living one, and a religious welcome can shade into civic promotion or noisy distraction.[1][3]
Ensor knew such imagery through Ostend’s seasonal culture and the masks sold by his family. His wider masks, carnival and satire theme shows that disguise could expose conduct as readily as conceal identity. The figures in Christ’s Entry are not all literally masked, but the hard, exaggerated treatment of many faces spreads masquerade across the crowd.
Several kinds of procession overlap. There is Christ’s sacred entry, a pre-Lenten carnival, a military or civic parade, and the visual memory of political demonstrations. No boundary cleanly separates them. Uniforms lend authority to entertainment; banners give festival the appearance of agitation; the apparent celebration marginalizes the person it celebrates. That instability also distinguishes the canvas from neutral reportage. It does not reconstruct one documented march. It constructs a modern spectacle from forms that Ensor and his viewers could recognize.
Christ and the Artist’s Partial Self-Identification
Getty and Patricia Berman both emphasize Ensor’s identification with the haloed rider.[1][3] The resemblance is not a conventional self-portrait placed at the front of the composition. It is a chosen role within an allegory: the misunderstood artist appears through Christ as a figure whose message is submerged by public performance. Elsewhere, Ensor repeatedly tried on sacred, skeletal and theatrical personae; the biography places those acts of self-fashioning within his long career.
Calling Christ a partial self-identification is more accurate than turning the painting into a diary entry. The rider still belongs to a biblical narrative and can signify ethical or social renewal beyond Ensor’s personal grievances. Getty’s educational account interprets him as a spokesman for the poor and oppressed, while the crowd includes embodiments of public power, fashion and complacency.[3] That is a supported institutional reading, not proof that each figure represents a fixed enemy.
The identification also contains an uncomfortable joke. Ensor casts the artist as a redemptive outsider, but he does not grant that outsider visual dominance. Christ is protected by a halo yet nearly lost. The conceit can be read as self-aggrandizing and self-mocking at once. Ensor’s modern artist wants recognition while picturing recognition as impossible amid publicity.
Belgian Politics without a Single Party Line
The canvas arose during a decade of rapid industrial growth, urban redevelopment and political conflict in Belgium. Brussels was being reshaped under Leopold II, while unequal representation, difficult working conditions and social displacement produced organized protest. The Belgian Labour Party was founded in 1885, and the unrest of 1886 made class conflict impossible to treat as a distant abstraction. Berman sets the painting against this atmosphere of demonstrations, public ceremonies and contested authority.[1][3]
The slogan “Vive la Sociale” is consequently hard to regard as innocent ornament. It evokes the social question and the rhetoric of collective change. Yet it does not convert Ensor into a party spokesman. Berman stresses the painting’s contradictory political field: church, army, bourgeois public, carnival licence and popular agitation occupy the same street, and ridicule moves among them.[1] The phrase can invite a socialist association without functioning as an unambiguous endorsement of one programme.
The crowd itself is equally resistant to a simple class diagram. Wealth, authority, entertainment and popular spectatorship are mixed rather than sorted into opposing camps. A person may be an official, a fraud, a reveller and a visual joke at the same time. Ensor implicates institutions, but he also distrusts mass enthusiasm and the ease with which individuals become faces in a procession. The mood is political because it stages power, visibility and exclusion; it is not reducible to an illustrated manifesto.
Other works use related pressure differently. Death Chasing the Flock of Mortals drives social types together under a universal threat, while the vast Temptation of Saint Anthony surrounds a spiritual protagonist with competing bodies, texts and desires. Christ’s Entry fuses those problems with the particular energy of a modern capital.
Deliberate Disorder: Drawing, Tools and Colour
The painting can initially look improvised because its colour is raw, its scale changes abruptly and many contours are blunt. Technical and close-looking evidence tells a more complicated story. Getty notes that Ensor used brushes, palette knives, spatulas and even both ends of a brush. Berman describes extensive underdrawing and a carefully planned construction beneath the impression of anarchy.[1][3] The deliberate framework matters: disruption is an effect Ensor built, not evidence that he lost control of the canvas.
Perspective is repeatedly bent to keep the pressure high. Distant figures shrink, yet the tiers of heads climb steeply rather than recede into a stable, breathable street. The foreground has the invasive scale of caricature, the banners sit almost parallel to the surface, and the central rider remains spatially plausible but visually vulnerable. These competing systems make the image alternate between deep procession and flat poster.
Colour performs a similar double action. Reds carry text, costume and authority across the width; the small yellow halo singles out Christ without making him large; pale, pink and green faces separate individuals while making flesh artificial. Some passages are thin and quick, others emphatic or scraped. Marks can describe an eye, a moustache or an instrument with very little modelling. From a distance the mass coheres; nearby, it breaks into tools, strokes and patches.
That tension helps explain the picture’s position within Ensor’s paintings. He borrows the dimensions and ambition of public history painting, then refuses its orderly hierarchy. The most elevated subject is not the largest form, and painterly finish does not certify moral importance. Roughness becomes part of the argument about a public unable to distinguish event from display.
Les XX and the Delayed Public Exhibition
Ensor was a founding member of Les XX, the Brussels exhibition society created in 1883. Its annual salons introduced ambitious new art, but the group was also a competitive arena. The arrival of Georges Seurat’s work and changing alliances contributed to Ensor’s sense that his own position was under pressure. Christ’s Entry has often been discussed as an answer to those conditions, though any direct claim about one rival causing the canvas remains an interpretation.[1]
A familiar story says Les XX rejected the painting in 1889. Berman examined Ensor’s writings and contemporary exhibition reviews and found no evidence for that supposed rejection or suppression.[1] Getty’s later account instead says Ensor intended the immense work for the 1889 salon but did not finish it in time.[5] The distinction is important: an absent work is not automatically a refused one.
Ensor retained the canvas. It could be encountered privately in his Ostend surroundings and was reproduced before its public debut, so “unknown until 1929” would overstate the case. The secure milestone is that its first public exhibition came in 1929, during a Brussels retrospective.[1][5] By then the work could be framed as the early achievement of an artist who had lived long enough to see his once-confrontational imagery enter national art history.
The 1898 Etching and the Painting’s Changed Words
In 1898 Ensor translated the composition into an etching. The print is far smaller and reverses the design through the printing process, yet its concentrated lines preserve the crowd, standards and tiny Christ. The Getty’s account of Ensor’s prints and drawings draws attention to slogans visible in this version that were later covered on the canvas.[6]
One printed banner joins Jesus with the Belgian socialist reformer Édouard Anseele. Its presence does not solve the painting’s politics, but it shows that Ensor reconsidered how directly names and allegiances should appear. Comparing the states reveals an artist revising public signals over time rather than a single message fixed in 1888. The etching also made the monumental invention portable: what overwhelms the body as a canvas becomes an image examined at close range.[6]
Provenance, Present Home and Modern Importance
Ensor kept Christ’s Entry for decades and made it a conspicuous presence in his Ostend environment. After his death in 1949, it passed to his niece Alexandra Daveluy. The documented subsequent ownership runs through Gustave Nellens at Knokke, Louis Franck, and Socindec in Vaduz before the J. Paul Getty Museum acquired the canvas in 1987.[2][7] It now belongs to the Getty in Los Angeles as 87.PA.96. Because display arrangements can change, collection ownership is a firmer statement than promising that the work will be hanging on a particular day.
Its importance lies partly in the number of traditions it can hold in collision. The scale recalls official public painting, the faces draw on caricature and masquerade, the subject invokes Christian art, and the slogans belong to mass politics and modern streets. Ensor did not reconcile them. He made their incompatibility visible.
The Getty describes the work as a forerunner of twentieth-century Expressionism, a judgment grounded in its violent colour, distorted bodies and emotionally charged handling.[3] “Forerunner” should not be confused with a simple line of cause and effect. The painting matters because later viewers can recognize problems that remain modern: crowds that amplify noise while obscuring meaning, identities performed through masks, and public language that competes with the event it claims to explain. Its influence is inseparable from its strange combination of planning and excess.
For a broader view of how this exceptional canvas fits Ensor’s subjects and media, begin with the James Ensor overview and then compare the focused pages linked throughout this guide.
Researched works directory
This searchable evidence census was assembled from public museum records and a reproducible Wikidata snapshot. It is not a catalogue raisonné, a claim to complete oeuvre coverage, or a substitute for Xavier Tricot's printed catalogue, which was not consulted for this directory.
| Name | Date | Medium |
|---|---|---|
| 1. Decor (uit: La Gamme d'Amour) | 1929 | |
| 10. Hélio (uit: La Gamme d'Amour) | 1911–1929 | |
| 11. Murmuramis (uit: La Gamme d'Amour) | 1912–1929 | |
| 12. Grimacet, Craco-Cigaret... (uit: La Gamme d'Amour) | 1929 | |
| 13.-14. Popofigue & Germina (uit: La Gamme d'Amour) | 1912–1929 | |
| 15. Puerilla & Pollen (uit: La Gamme d'Amour) | 1912–1929 | |
| 16. Muzikanten II (uit: La Gamme d'Amour) | 1929 | |
| 17. Vuurwerkboeket (uit: La Gamme d'Amour) | 1929 | |
| 18. De schelpen (uit: La Gamme d'Amour) | 1929 | |
| 19. Het Luminisme - het Kubisme - de Gravure (uit: La Gamme d'Amour) | 1912–1929 | |
| 2. Brutonne (uit: La Gamme d'Amour) | 1911–1929 | |
| 20. Spar - Huisje uit Neurenberg - Racket (uit: La Gamme d'Amour) | 1911–1929 | |
| 21. Duivel - Houten soldaat - Pop (uit: La Gamme d'Amour) | 1912–1929 | |
| 22. Cimbaalspelers (uit: La Gamme d'Amour) | 1917–1929 | |
| 3. Grognelet (uit: La Gamme d'Amour) | 1929 | |
| 3 studies van een dame met parasol | 1880 | Drawing |
| 4. Miamia (uit: La Gamme d'Amour) | 1929 | |
| 5. De bedelares (uit: La Gamme d'Amour) | 1929 | |
| 6. Fifrelin (uit: La Gamme d'Amour) | 1929 | |
| 7. Muzikanten (uit: La Gamme d'Amour) | 1911–1929 | |
| 8. Pituiton met de lange neus (uit: La Gamme d'Amour) | 1929 | |
| 9. Corylopsis (uit: La Gamme d'Amour) | 1911–1929 | |
| A Colourist | 1880 | Painting |
| A field with a working man and woman | Date unknown | Drawing |
| A Gust of Wind at the Edge of the Forest (Coup de vent a la lisiere) | 1888 | |
| A l'aube | 1880 | Drawing |
| A Man and a Woman | Date unknown | Drawing |
| A Path in a Wood | 1879 | Painting |
| Aanbidding door de koningen | 1921 | |
| Aanstormend leger | Date unknown | Drawing |
| Aantekeningen van James Ensor | Date unknown | Drawing |
| Acacia | 1888 | |
| Academic study of a nude | Date unknown | Drawing |
| Accacia | Date unknown | Drawing |
| Adam and Eve expelled from Paradise | 1887 | Painting |
| Adoration des Bergers | 1888 | |
| Affiche van "Salon des Cent", Parijs | 1888–1898 | |
| Affiche van "Salon des Cent", Parijs | 1898 | |
| Affiche voor het carnaval van Oostende | 1931 | |
| After the storm | 1880 | Painting |
| Afternoon in Ostend | 1881 | Painting |
| Album Containing Drawings and Illustrated Letters | 1883 | Drawing |
| Algérienne à la cruche | Date unknown | Drawing |
| Alimentation doctrinaire | 1889 | |
| Anatomische studie en twee figuren | Date unknown | Drawing |
| Anger | 1904 | |
| Anger (La colere) | 1904 | |
| Antiek pistool | Date unknown | Drawing |
| Antieke kop | 1870 | Drawing |
| Arabische ruiter door leeuw aangevallen | 1880 | Drawing |
| Arabische ruiter en paard | Date unknown | Drawing |
| Arabische ruiter in galop | Date unknown | Drawing |
| Arms and Hands | Date unknown | Drawing |
| Astonishment of the Mask Wouse | 1889 | Painting |
| Au conservatoire | 1902 | Painting |
| Auto-da-fe | 1893 | |
| Autoportrait auprès d'une lampe | 1886 | |
| Autumn Flowers | 1938 | Painting |
| Avarice | 1904 | |
| Avarice (L'avarice) | 1904 | |
| Azaleas | 1925 | Painting |
| Baby | Date unknown | Drawing |
| Baby en arm | 1870 | Drawing |
| Bacchanal | 1877 | Painting |
| Back of a Chair | 1880 | Painting |
| Badkoets, bruggetje en kleine marine | Date unknown | Drawing |
| Bal masqué à la Monnaie | Date unknown | Drawing |
| Ballet | 1921 | |
| Balletscène | 1900 | Drawing |
| Baptism of the Masks | 1891 | Painting |
| Baron James Ensor, his bad angel, his coat of arms | 1934 | Painting |
| Barques échouées | 1888 | |
| Bataille des éperons d'or | 1895 | |
| Bataille entre llion et tigre | 1880 | Drawing |
| Bateaux à vapeur, PK.MP.04898 | 1889 | |
| Bateaux à vapeur, PK.MP.04899 | 1889 | |
| Bathers (Curved and Wavy Lines) | 1916 | Painting |
| Bathing-hut | 1876 | Painting |
| Battle of the beggars Désir and Rissolé | 1888 | |
| Battle of the Beggars Desir and Rissole (Combat des pouilleux Desir et Rissole) | 1888 | |
| Battle of the Golden Spurs | 1890 | |
| Battle of the Golden Spurs | 1895 | |
| Battle of the Golden Spurs | 1897 | |
| Baviaan | Date unknown | Drawing |
| Beach at La Panne | 1904 | |
| Beached Boats | 1888 | |
| Bed met troonhemel | Date unknown | Drawing |
| Bedkast | Date unknown | Drawing |
| Beeldje op console | Date unknown | Drawing |
| Beggars Receiving Alms at the Door of a House | 1880 | Drawing |
| Bejaarde man | Date unknown | Drawing |
| Belgium in the Nineteenth Century | Date unknown | Drawing |
| Belgium in the XIXth Century | 1889 | |
| Berceuse de mon ballet: La gamme d'amour | Date unknown | Drawing |
| Bergpad | Date unknown | Drawing |
| Bibelots | 1935 | Painting |
| Biblical Scene | 1877 | Painting |
| Bijbelse scènes, uitgeveegd | 1870 | Drawing |
| Biljartspelende geraamten | 1903 | Drawing |
| Bloem | Date unknown | Drawing |
| Bloemen en vlinders | 1889 | Painting |
| Blue Flask and Chicken | 1925 | Painting |
| Boats Aground | 1888 | |
| Boer met paardenspan en Marie Colombier | Date unknown | Drawing |
| Bolhoed en schoen | 1880 | Drawing |
| Bomen | Date unknown | Drawing |
| Bootje en figuur | 1880 | Drawing |
| Bosgezicht in Groenendaal | 1888 | |
| Bosgezicht te Groenendaal | 1888 | |
| Bosje | 1888 | |
| Bosrand | 1878 | Drawing |
| Boulevard d'Iseghem, Ostende | 1889 | |
| Boulevard Van Iseghem, Ostend | 1889 | |
| Bouquet d'arbres, MPM.V.V.261.003 | 1888 | |
| Bouquet d'arbres (PK.MP.04890) | 1888 | |
| Bouquet d'arbres, PK.MP.04891 | 1888 | |
| Breakwater | 1887 | |
| Breiende vrouw en hondje | Date unknown | Drawing |
| Bronze pot with Apparitions | 1880 | Drawing |
| Bruggetje (?) | 1889 | Drawing |
| Bust | 1887 | |
| Buste | 1887 | |
| Buste (PK.MP.01223) | 1887 | |
| Cabbages | 1890 | Painting |
| Caesar's Denarius | 1888 | |
| Café-concert à Munich | 1880 | Drawing |
| Calvarie | 1921 | |
| Canal with Barges | 1881 | Painting |
| Candelabra and Vase | 1888 | |
| Candélabre et vase | 1888 | |
| Capture of a Strange Town | 1888 | |
| Carnet met tekeningen | 1880 | Drawing |
| Carnet met tekeningen | Date unknown | Drawing |
| Carnival | 1930 | Painting |
| Carnival in Flanders | 1929 | Painting |
| Carnival in Flanders (Zürich) | 1927 | Painting |
| Carnival on the beach | 1887 | Painting |
| Chaloupes | 1888 | |
| Chaumiéres à Slykens | 1888 | |
| Chère morte | Date unknown | Drawing |
| Child with Doll | 1884 | Painting |
| Children at their Morning Toilet | 1886 | Painting |
| Chimaera | 1888 | |
| Chimère | 1888 | |
| Chinese vaas en figuren | 1880 | Drawing |
| Chinoiserie | 1885 | Drawing |
| Chinoiserie, drie vogels | Date unknown | Drawing |
| Chinoiserie, een demon | 1885–1886 | Drawing |
| Chinoiserie, een krijger | 1885 | Drawing |
| Chinoiserie, een man | 1885 | Painting |
| Chinoiserie, een ooievaar | Date unknown | Drawing |
| Chinoiserie, een oude vrouw | Date unknown | Drawing |
| Chinoiserie, een roofvogel | Date unknown | Drawing |
| Chinoiserie, een vogel | Date unknown | Drawing |
| Chinoiserie, een vrouw | 1885 | Drawing |
| Chinoiserie, een zittende man | 1885 | Drawing |
| Chinoiserie, een zittende man in driekwart rugzicht | 1885 | Drawing |
| Chinoiserie, tafereel | 1884 | Drawing |
| Chinoiserie, twee figuren | 1885 | Drawing |
| Chinoiseries | 1907 | Painting |
| Chinoiseries | 1920 | Painting |
| Chinoiseries with fans | 1880 | Painting |
| Christ agonisant tourmenté par les démons | 1895 | |
| Christ among the Beggards | 1895 | |
| Christ and the Beggars | 1895 | |
| Christ and the Beggars (Le Christ aux mendiants) | 1895 | |
| Christ Calming the Storm | 1886 | |
| Christ Calming The Tempest | 1886 | |
| Christ calming the water | 1891 | Painting |
| Christ calming the water | 1906 | Painting |
| Christ Descending into Hell | 1895 | |
| Christ Descending into Hell | Date unknown | |
| Christ Descending to Hell | 1895 | Drawing |
| Christ in Agony Tormented by Demons | 1895 | |
| Christ in Hell (Le Christ aux enfers) | 1895 | |
| Christ in the Boat | 1898 | |
| Christ insulted | 1886 | |
| Christ mocked | 1880 | Drawing |
| Christ Mocked | 1886 | |
| Christ Orchard | 1886 | |
| Christ's Entry into Brussels in 1889 | 1888 | Painting |
| Christ's Entry into Jerusalem | 1885 | Drawing |
| Christ shown to the People | 1885 | Drawing |
| Christ shown to the People and Christ's Entry into Jerusalem | 1887 | Drawing |
| Christ Tormented by Demons | 1895 | |
| Christ Walking on Water | 1883 | Painting |
| Christ with the Lame | 1880 | Painting |
| Christus bedaart de storm | 1921 | |
| Christus bij de bedelaars | 1895 | |
| Christus daalt neer in de hel | 1895 | |
| Christus door duivels gekweld | 1895 | |
| Christus drijft de duivel uit het het lichaam aan een bezetene | 1921 | |
| Christus en de Engelen | 1921 | |
| Christus en de schriftgeleerden | 1921 | |
| Christus en Romeinse soldaten | 1886 | Drawing |
| Christus in de schuit | 1898 | |
| Christus op de knieën van zijn moeder | 1921 | |
| Christus tussen de moordenaars | 1921 | |
| Christus voor zijn rechters | 1921 | |
| Christus wandelt op de golven | 1921 | |
| Circassische ruiters | Date unknown | Drawing |
| Clams and crustaceans | 1889 | Painting |
| Clownish figures on a beach | Date unknown | Drawing |
| Clump of Trees | 1888 | |
| Colère | 1904 | |
| Combat des pouilleux Désir et Rissolé | 1888 | |
| Combat of the Rascals Désir and Rissolé | 1888 | |
| Combat of The Rascals Désir et Rissolé | 1888 | |
| Comical Repast (Banquet of the Starved) | 1917 | Painting |
| Contes d'Horace van Offel - Le diable au moulin | 1934 | |
| Copy after Honoré Daumier | Date unknown | Drawing |
| Cortège infernal | Date unknown | |
| Cottages | 1888 | |
| Couple in open landau | 1883 | Drawing |
| Cranes et masques | 1888 | |
| Croquis | Date unknown | Drawing |
| Crypte | 1888 | |
| Cymbalists | 1911 | |
| Daffodils, Lilacs and Violets | 1893 | Painting |
| Dahlias | 1932 | Painting |
| Daken | Date unknown | Drawing |
| Dame | Date unknown | Drawing |
| Dame aan cafétafel | 1880 | Drawing |
| Dame en meisje | Date unknown | Drawing |
| Dame en twee heren | Date unknown | Drawing |
| Dance in the Clearing (from the series Les Opalines) | 1913 | |
| Daniel in the Lion's Den | 1880 | Drawing |
| Dansend paar | Date unknown | Drawing |
| Dansers en muzikanten | 1919 | Drawing |
| De aanbidding der herders | 1888 | |
| De afgunst | 1903–1904 | |
| De Amsterdamse lakenhandelaar Nicolaas van Bambeek | 1880 | Drawing |
| De baden van Oostende | 1891 | Drawing |
| De baden van Oostende | 1899 | |
| De bekoring van Christus | 1888 | |
| De bergrede [verso: Studie van drie staande en een zittende figuur] | Date unknown | Drawing |
| De besnijdenis | 1921 | |
| De bespotting van Christus | 1921 | |
| De boeteprocessie van Veurne | 1930 | Drawing |
| De boomgaard | 1886 | |
| De boomgaard | 1900 | |
| De briefschrijfster (Ensors zuster) | 1883 | Drawing |
| De brug van het bos te Oostende | 1889 | |
| De brug van Six | Date unknown | Drawing |
| De bruiloft van Kana | 1913 | Drawing |
| De cataclysmen | 1888 | |
| De componist Hector Berlioz | Date unknown | Drawing |
| De crypte | 1888 | |
| De daken van Oostende | 1900 | |
| De dood achtervolgt de mensenkudde | 1896 | |
| De duivels Dzitts en Hihanox leiden Christus naar de hel | 1895 | |
| De eerste stapjes | 1880 | Drawing |
| De engel des verderfs | 1889 | |
| De engelen vereeren Maria | 1921 | |
| De Franse politicus François Barbé Marbois | Date unknown | Drawing |
| De gefopte boeren | 1893 | Drawing |
| De gendarmes | 1888 | |
| De geseling | 1921 | |
| De gevilde | 1888 | |
| De gierigheid | 1903–1904 | |
| De gierigheid | 1904 | |
| De goede rechters | 1894 | |
| De gramschap | 1903 | |
| De gramschap | 1903–1904 | |
| De grap van de olifant | 1888 | Drawing |
| De gulzigheid | 1903–1904 | |
| De Heilige Geest verlicht de apostelen | 1921 | |
| De herstellende zieke | Date unknown | Drawing |
| De honden | 1894 | Drawing |
| De hoofdzonden gedomineerd door de Dood | 1903–1904 | |
| De hoogmoed | 1903–1904 | |
| De intocht van Christus te Brussel | 1898 | |
| De kathedraal | 1896 | |
| De kleine bron en andere figuren | 1880 | Drawing |
| De kleine schuiten | 1894 | |
| De knaap | 1880 | Drawing |
| De kokette dood (maskers) | 1922 | |
| De kruisafneming | 1921 | |
| De Kruisafneming | Date unknown | Painting |
| De kruisiging | 1921 | |
| De kus van Judas | 1921 | |
| De luiheid | 1902 | |
| De luiheid [De moeder van de kunstenaar] | 1888 | Drawing |
| De minnetuin | 1888 | |
| De molen van Mariakerke | 1889 | |
| De molenduivel | 1934 | |
| De Moord | 1888 | |
| De moord op de onnozele kinderen | 1921 | |
| De ontucht | 1888 | |
| De Oostendse Visser | 1900 | Drawing |
| De oude schelmen | 1895 | |
| De oudjes of de tijd | Date unknown | Drawing |
| De pakjesdragers | 1880 | Drawing |
| De pijproker, profiel en handen | 1880 | Drawing |
| De poel met populieren | 1889 | |
| De processie van Gistel | 1934 | |
| De putruimer | 1896 | |
| De regenten van het Oudemannenhuis in Haarlem. Een figuur | Date unknown | Drawing |
| De regenten van het Oudemannenhuis in Haarlem. Twee figuren | 1880 | Drawing |
| De Rembrandtplaats te Amsterdam | 1890 | Drawing |
| De Romeinse zegetocht | 1890 | |
| De roof der Sabijnse maagden | Date unknown | Drawing |
| De schaduw op het huis | 1933 | |
| De schilder Alfred William Finch - en studie met flessen | 1880 | Drawing |
| De slaapster | 1887 | |
| De Slag der Gulden Sporen | 1895 | |
| De slechte geneesheren | 1895 | |
| De soldenier | Date unknown | Drawing |
| De spelers | 1895 | |
| De terugkeer van de kalvarieberg | 1921 | |
| De tuin van liefde | Date unknown | Painting |
| De Turkse school is uit | Date unknown | Drawing |
| De Van Iseghemlaan in Oostende | 1889 | |
| De Van Iseghemlaan in Oostende, schrijvende man (recto) | 1880 | Drawing |
| De vechtersbazen | 1896 | |
| De vermenigvuldiging van de vissen | 1891 | |
| De verschrikkelijke boogschutter | 1888 | |
| De verzoeking van de Heilige Antonius | 1930 | Drawing |
| De visser | 1880 | Drawing |
| De vissers (De ellendelingen) | 1932 | |
| De waterdrinker | Date unknown | Drawing |
| De wonderbare visvangst | 1921 | |
| De wraak van Hop-Frog | 1898 | |
| De zieke vrouw | Date unknown | Drawing |
| De zielenmissen voor B. de Haze | Date unknown | Drawing |
| De zilverling van Caesar | 1888 | |
| De zilverling van Caesar | 1921 | |
| De zoom van het bosje te Oostende | 1888 | |
| De zuster van Ensor aan het klavier | Date unknown | Drawing |
| Death and the Masks | 1897 | Painting |
| Death Chasing the Flock of Mortals | 1896 | |
| Death Dominating the Deadly Sins (Les Peches capitaux domines par la mort): front. | 1904 | |
| Delicacies | 1938 | Painting |
| Demons Teasing Me | 1895 | |
| Demons Teasing Me: Poster for the James Ensor Exhibition at the Salon des Cent in Paris | 1898 | |
| Demons Torment Me (Les Démons me turlupinant) | 1898 | |
| Der Tod und der Arzt beim Grabstein | 1880 | Drawing |
| Des filles de Sparte luttant | Date unknown | Drawing |
| Detail van afsluiting | 1900 | Drawing |
| Detail van een kapstok | Date unknown | Drawing |
| Deux régentes | 1880 | Drawing |
| Devils Thrashing Angels and Archangels | 1888 | |
| Devils Trashing Angels and Archangels | 1888 | |
| Diable rossant anges et archanges | 1888 | Drawing |
| Diables rossant anges et archanges | 1888 | |
| Diables rossant anges et archanges | 1889 | |
| Die Löwenjagd | 1880 | Drawing |
| Dienstbode (recto) | 1880 | Drawing |
| Dining single man | 1880 | Drawing |
| Diploma voor het X° Landjuweel | 1933 | |
| Dish, bottles and candlestick | Date unknown | Drawing |
| Doctrinaire voeding | 1889 | |
| Doctrinal Nourishment | 1889 | |
| Dode monnik | Date unknown | Drawing |
| Don Quichotte | 1870 | Drawing |
| Don Quichotte | 1884 | Drawing |
| Don Quichotte | Date unknown | Drawing |
| Don Quichotte en 4 gezichten | 1870 | Drawing |
| Don Quichotte en hoofd | Date unknown | Drawing |
| Don Quichotte en paardekop | Date unknown | Drawing |
| Doodshoofden en Willy Finch in de duinen (recto) | 1888 | Drawing |
| Doordruk van 2709/33 | Date unknown | |
| Dorpskerk omringd door bomen | Date unknown | Drawing |
| Double Self Portrait | 1900 | Drawing |
| Draaitrap en figuren | Date unknown | Drawing |
| Dramatische scène | 1883 | Drawing |
| Drie figuren | Date unknown | Drawing |
| Drie heren in gesprek | Date unknown | Drawing |
| Drie hollandse boerinnetjes | Date unknown | Drawing |
| Drie honden | 1880 | Drawing |
| Drie insekten | Date unknown | Drawing |
| Drie klimmende heren en koppen | Date unknown | Drawing |
| Drie koppen van wilde dieren | Date unknown | Drawing |
| Drie varkenskoppen | Date unknown | Drawing |
| Drie zeilboten en een windmolen | 1920 | Drawing |
| Duingras | Date unknown | Drawing |
| Duivels die mij sarren | 1895 | |
| Duivels die mij sarren | 1898 | |
| Duivels rossen engelen en aartsengelen af | 1888 | |
| Dunes | 1877 | Painting |
| Dunes | 1883 | Painting |
| Edelman | Date unknown | Drawing |
| Edge of the Forest in Ostend (La lisiere du petit bois, Ostende) | 1887 | |
| Edge of the Little Wood | 1888 | |
| Edge of the Little Wood Ostend | 1888 | |
| Een ongeval | Date unknown | Drawing |
| Een Zeeuws paardengespan | Date unknown | Drawing |
| Effect of Light | 1935 | Painting |
| Elias Magnus Fries, the Swedish Mycologist | 1886 | |
| Elisabeth Bas | 1880 | Drawing |
| Embleem | Date unknown | Drawing |
| Ensor and Leman discussing painting | 1890 | Painting |
| Ensor at his Easel | 1890 | Painting |
| Ensor at the Harmonium | 1933 | Painting |
| Ensor en Generaal Leman | 1890 | Drawing |
| Ensor en zijn muze | 1937 | Drawing |
| Ensors slapende moeder en figuren | 1880 | Drawing |
| Ensors slapende zuster en figuren | 1880 | Drawing |
| Envie | 1904 | |
| Envy | 1904 | |
| Envy (L'envie) | 1904 | |
| Ernest Rousseau | 1887 | |
| Estacade, PK.MP.04903 | 1887 | |
| Estacade, PK.MP.04904 | 1887 | |
| Execution by Garrote | Date unknown | Drawing |
| Extraordinary Musicians | 1888 | |
| Fall of the Rebel Angels | 1889 | Painting |
| Fans and Fabrics | 1881 | Painting |
| Fantasia | Date unknown | Drawing |
| Fantastische muzikanten | 1888 | |
| Fantastische vogel | Date unknown | Drawing |
| Farm at Leffinghe | 1889 | |
| Feeding of the Five Thousand (La multiplication des poissons) | 1891 | |
| Femme assise vue de dos | Date unknown | Drawing |
| Femme et scène de taverne | Date unknown | Drawing |
| Ferme à Leffinge | 1889 | |
| Figuren | 1870 | Drawing |
| Figuren | 1880 | Drawing |
| Figuren | Date unknown | Drawing |
| Figuren en hoofden | 1870 | Drawing |
| Figuren en ringkan (recto) | 1880 | Drawing |
| Figuren en slijpsteen | Date unknown | Drawing |
| Figuren en tekst | Date unknown | Drawing |
| Figuren uit de liefdestuin | Date unknown | Drawing |
| Figuren (verso) | 1880 | Drawing |
| Figures in Front of a Poster of La Gamme d’amour (after The Entry of Christ into Brussels in 1889) | 1925 | Painting |
| Figuur | Date unknown | Drawing |
| Figuur en fornuis met kookpotten | 1880 | Drawing |
| Figuur op de rug gezien | Date unknown | Drawing |
| Fish and Shells | 1895 | Painting |
| Fisher couple | 1874 | Painting |
| Fisherman falling in the water | 1880 | Drawing |
| Fisherman of Ostend | 1900 | |
| Fisherwoman | 1882 | Painting |
| Fishing-Boats | 1888 | |
| Flaying a Convict | 1888 | |
| Flemish Farm | 1888 | |
| Fles (recto) | 1888 | Drawing |
| Floral Still Life with Skulls | 1908 | Painting |
| Floretten | 1880 | Drawing |
| Flowers | 1892 | Painting |
| Flowers and blue vase | 1909 | Painting |
| Flowers and Chinese Vases | 1896 | Painting |
| Flowers and fruit | 1938 | Painting |
| Flowers and Masks | 1929 | Painting |
| Flowers and Vegetables | 1896 | Painting |
| Flowers in a Vase | Date unknown | Drawing |
| Footpath at Groenendael | 1888 | |
| Forest at Groenendael | 1888 | |
| Fort Napoleon | 1876 | Painting |
| Fort Wellington | 1876 | Painting |
| Fragment van een boom, stilleven op een barokke tafel, kruik en figuren (verso) | 1880 | Drawing |
| Fragment van raam met opgetrokken overgordijn | Date unknown | Drawing |
| Fragment van vaas | Date unknown | Drawing |
| Fridolin and Gragapança of Yperdamme | 1895 | |
| Fridolin and Grapapança of Yperdamme | 1895 | |
| Fridolin en Gragapança van Yperdamme | 1895 | |
| Fridolin et Gragapanca d'Yperdamme | 1895 | |
| Fries met monstertjes | Date unknown | Drawing |
| Frise, The Swedish Botanist | 1886 | |
| Frolics of Tenuous Puppets Transformed into Flowers (from the series Les Opalines) | 1913 | |
| Frontispice | 1921 | |
| Frontispice | Date unknown | |
| Frontispice (uit: Taferelen uit het leven van Christus) | 1921 | |
| Gathering in a Park | 1936 | Painting |
| Gathering in a Park (Assemblee dans un parc) | 1891 | |
| Gebonden album "La Gamme d'Amour | 1912–1929 | |
| Gebonden album "Taferelen uit het leven van Christus | 1921 | |
| Geërgerde maskers | 1895 | |
| Gefolterde (?) | Date unknown | Drawing |
| Gehurkte man met petroleumbus | Date unknown | Drawing |
| Geïntrigeerde maskers | 1904 | |
| Genretafereel | Date unknown | Drawing |
| Genretafereel en ornament | Date unknown | Drawing |
| Geraamte dat zich wil verwarmen | Date unknown | Drawing |
| Geraamten die zich willen warmen | 1895 | |
| Gestrande schuiten | 1888 | |
| Gevallen Arabische ruiter met steigerend paard | Date unknown | Drawing |
| Gevel | Date unknown | Drawing |
| Gezicht op de haven van Oostende | 1888 | |
| Gezicht op Mariakerke | 1900 | Drawing |
| Gezicht op Oostende in het oosten | 1888 | |
| Girl | 1880 | Drawing |
| Girl with Masks (Communion) | 1921 | Painting |
| Girl with upturned Nose | 1879 | Painting |
| Gluttony | 1904 | |
| Gluttony (La gourmandise) | 1904 | |
| Gordijnroede | Date unknown | Drawing |
| Gourmandise | 1904 | |
| Grand View of Mariakerke | 1887 | |
| Grande vue de Mariakerke | 1887 | |
| Grey Seascape | 1880 | Painting |
| Groep gemaskerde muzikanten | Date unknown | Drawing |
| Groep hoge bomen | 1890 | Drawing |
| Groep ruiters | Date unknown | Drawing |
| Groep soldaten en burgers | Date unknown | Drawing |
| Groteske figuren | 1912 | Drawing |
| Groteske figuur | Date unknown | Drawing |
| Group of Trees | 1888 | |
| Hamlet | Date unknown | Drawing |
| Hand en degen | Date unknown | Drawing |
| Hand met geweerloop | Date unknown | Drawing |
| Handen | Date unknown | Drawing |
| Handen en ornament | Date unknown | Drawing |
| Handen en silhouetten | Date unknown | Drawing |
| Hangklok en hoeden | 1880 | Drawing |
| Havengezicht | Date unknown | Drawing |
| Heer en dame aan tafel | 1912 | Drawing |
| Heer en kelner | Date unknown | Drawing |
| Heer en twee gehurkte figuurtjes | Date unknown | Drawing |
| Heer met hoge hoed | Date unknown | Drawing |
| Heilige Familie | 1921 | |
| Hemelvaart | 1921 | |
| Hengst | Date unknown | Drawing |
| Herbergscène met dansend boerenpaar (verso) | 1880 | Drawing |
| Het afscheid van Napoleon | 1896 | |
| Het balkon | Date unknown | Drawing |
| Het betoverd meubel | 1888 | |
| Het doopsel van Christus | 1921 | |
| Het fantastische bal | 1889 | |
| Het gesprek | Date unknown | Drawing |
| Het gevecht | 1896 | |
| Het grote dok in Oostende | 1888 | |
| Het laatste avondmaal | 1921 | |
| Het model | Date unknown | Drawing |
| Het onweer | 1889 | |
| Het spook | 1889 | |
| Het strand van De Panne | 1904 | |
| Hippogriff, Evil Spirits, Interior Elements | 1880 | Drawing |
| Hoed en silhouet | 1918 | Drawing |
| Hoek in het atelier met kachelvoet, kist en figuren | 1880 | Drawing |
| Hoeve | 1920 | Drawing |
| Hoeve te Leffinge | 1889 | |
| Hoevedaken | Date unknown | Drawing |
| Hollandse kast | Date unknown | Drawing |
| Hond | 1880 | Drawing |
| Hoofd van een fluitspelende vrouw | Date unknown | Drawing |
| Hoofddekseltjes en boerinnetjes | Date unknown | Drawing |
| Hoofden | 1870 | Drawing |
| Hoofden | 1882 | Drawing |
| Hoofden | 1900 | Drawing |
| Hoofden | Date unknown | Drawing |
| Hoofden en stilleven | Date unknown | Drawing |
| Hooiopper met windmolen, boot en kleine hoeve | 1888 | Drawing |
| Hooiopper, roeiers in kano, windmolen | Date unknown | Drawing |
| Hop-Frog | 1898 | |
| Hop-Frog's Revenge | 1885 | |
| Hop-Frog's Revenge | 1895 | |
| Hop-Frog's Revenge | 1898 | |
| Hop-Frog's Revenge | 1922 | |
| Horses and silhouettes | 1880 | Drawing |
| House on the Boulevard Anspach | 1888 | |
| Houses, a street lamp and a carriage | 1885 | Drawing |
| Houses on the Boulevard Anspach in Brussels(Maisons du boulevard Anspach a Bruxelles) | 1888 | |
| Huis met bomen | Date unknown | Drawing |
| Huis met torenerker | 1890 | Drawing |
| Huis, narren, portret | Date unknown | Drawing |
| Huis op de Anspachlaan | 1888 | |
| Huisjes in Mariakerke | 1888 | |
| Huizen en peervormig torentje | Date unknown | Drawing |
| Hutten | 1888 | |
| I. L'Annonciation | Date unknown | |
| I. Maria-boodschap (uit: Taferelen uit het leven van Christus) | 1921 | |
| Icône - Portrait of Eugène Demolder | 1893 | Painting |
| II. De aanbidding der wijzen (uit: Taferelen uit het leven van Christus) | 1921 | |
| II. L'Adoration des Mages | Date unknown | |
| III. De moord op de onnozele kinderen (uit: Taferelen uit het leven van Christus) | 1921 | |
| III. Le Massacre des Innocents | Date unknown | |
| In de loge | Date unknown | Drawing |
| In the Dunes | 1883 | Painting |
| Inneming van een vreemde stad | 1888 | |
| Insectes singuliers | 1888 | |
| Insectes singuliers | Date unknown | |
| insects | Date unknown | Drawing |
| Interieur met open haard | Date unknown | Drawing |
| Intrede in Jeruzalem | 1921 | |
| Iston, Pouffamatus, Cracozie and Transmouffe, famous Persian physicians, examining the Stool of Darius | 1886 | |
| Iston, Pouffamatus, Cracozie and Transmouffe, famous Persian physicians, examining the Stool of Darius after the battle of Arbela | 1886 | |
| Iston, Pouffamatus, Cracozie and Transmouffe, Famous Persian Physicians, Examining the Stools of King Darius after the Battle of Arbela | 1886 | |
| Iston Pouffamatus Cracozie Transmouff célèbres medecins persans examinant les selles du Roi Darius après la bataille d'Arbelles | 1886 | |
| Iston, Pouffamatus... examining the Stool fo Darius | 1886 | |
| IV. De vlucht naar Egypte (uit: Taferelen uit het leven van Christus) | 1921 | |
| IV. La Fuite en Egypte | Date unknown | |
| IX. De zilverling van Caesar (uit: Taferelen uit het leven van Christus) | 1921 | |
| IX. Le denier de César | Date unknown | |
| Jardin d'amour | 1888 | |
| Jardin d'amour | 1925 | Painting |
| Jardin d'amour (PK.MP.01200) | 1888 | |
| Joan of Arc | 1880 | Drawing |
| Jonge Picardiërs bij een oefening met lansen | Date unknown | Drawing |
| Jonge vrouw | Date unknown | Drawing |
| Jongen met zwaard | Date unknown | Drawing |
| Judit en Holofernes | 1879 | Painting |
| Kaasklok en lissen | Date unknown | Drawing |
| Kachel en figuren (recto) | 1880 | Drawing |
| Karnavalfiguurtjes | Date unknown | Drawing |
| Kerkje van Tholen | Date unknown | Drawing |
| Kind op rug gezien | 1880 | Drawing |
| King Pest | 1880 | Drawing |
| King Pest | 1895 | |
| Klassiek academiemodel | 1878 | Drawing |
| Klein gezicht op Mariakerke | 1887 | |
| Klein gezicht op Mariakerke | 1900 | |
| Klein meisje en ornament | Date unknown | Drawing |
| Kleine vreemdsoortige figuren | 1888 | |
| Koets | 1890 | Drawing |
| Koets en twee heren | 1880 | Drawing |
| Koffertje en zwaard | Date unknown | Drawing |
| Koffiekan | Date unknown | Drawing |
| Koning Pest | 1895 | |
| Koningin Parysatis | 1890 | |
| Kop en drie honden | Date unknown | Drawing |
| Kop in vooraanzicht en in profiel | Date unknown | Drawing |
| Kop, schoteltje en figuren (recto) | 1880 | Drawing |
| Köpfe | 1880 | Drawing |
| Kopie | Date unknown | Drawing |
| Kopie naar Goya | Date unknown | Drawing |
| Kopie naar Grévin | Date unknown | Drawing |
| Kopie naar Salvator Rosa | Date unknown | Drawing |
| Kopje en afdruk | Date unknown | Drawing |
| Krabbel | Date unknown | Drawing |
| Krabbel: militairen | Date unknown | Drawing |
| Krabbel van marine | Date unknown | Drawing |
| Krabbel van ornament? | Date unknown | Drawing |
| Krabbels met houtskool | Date unknown | Drawing |
| Kroegtafereel | Date unknown | Drawing |
| Kroonkandelaar en vaas | 1888 | |
| Kruiwagen en figuren (recto) | 1880 | Drawing |
| Kruiwagen, figuren en schets | 1880 | Drawing |
| L'Acacia | 1888 | |
| L'Amour Moissonneur | Date unknown | Drawing |
| L'ange exterminateur | 1889 | |
| L'archer terrible | 1888 | |
| L'assassinat | 1888 | |
| L'écorché | 1888 | |
| L'entrée du Christ à Bruxelles en 1889 | 1889 | |
| L'Entrée du Christ à Bruxelles en 1889 | 1898 | |
| L'Hôtel de ville de Bruxelles | 1885 | Painting |
| L'orage | 1889 | |
| La Blague de l'éléphant | 1888 | |
| La Cathédrale | 1860 | |
| La Cathédrale | 1886 | |
| La dormeuse (rare) | 1887 | |
| La gamme d'amour | 1926 | Painting |
| La Lisiere du bois d'Ostende | 1888 | |
| La Madeleine | 1887 | |
| La mort poursuivant le troupeau des humains | 1896 | |
| La multiplication des poissons | 1891 | |
| La musique Rue de Flandre à Ostende | 1890 | |
| La prise d'une ville étrange | 1888 | |
| La reine Parysatis écorchant un eunuque | 1900 | |
| La Syrene | Date unknown | Drawing |
| La Tentation du Christ | 1888 | |
| La vengeance de Hop-Frog | 1898 | |
| Laat de kleinen tot mij komen | 1921 | |
| Lady Godiva | 1933 | |
| Lady Singing | 1880 | Drawing |
| Landelijke brug | 1889 | |
| Landscape with waterfalls | 1875 | Painting |
| Landschap met kerktoren en windmolen | Date unknown | Drawing |
| Landschap met kruis | Date unknown | Drawing |
| Landschap met molen en laag wolkendek | 1890 | Drawing |
| Landschapsfragment met waterrad en twee figuren (verso) | 1880 | Drawing |
| Lantaarn en kruiwagen | 1870 | Drawing |
| Large Basin of Ostend Harbor (Le Grand Bassin, Ostende) | 1888 | |
| Large seascape - Sunset | 1885 | Painting |
| Large View of Mariakerke | 1887 | |
| Large View of Mariakerke (Grande vue de Mariakerke) | 1887 | |
| Laute spielender Engel | Date unknown | Drawing |
| Le Bal fantastique | 1889 | |
| Le Ballet Féerique (Le Jardin D'Amour) | 1925 | Painting |
| Le bassin d' Ostende | 1888 | |
| Le Botaniste Scandinave Frise | 1886 | |
| Le Boulevard van Iseghem, Ostende | 1889 | |
| Le Cathédrale | 1886 | |
| Le Christ apaisant la tempète | 1886 | |
| Le Christ aux Mendiants | 1895 | |
| Le Christ dans la barque | 1898 | |
| Le Christ descendant aux enfers | 1895 | |
| Le Christ montré au peuple | 1886 | |
| Le Christ tourmenté (Christ Tormented) | 1888 | Painting |
| Le cortège infernal | Date unknown | Drawing |
| Le coup de vent à la lisière | 1888 | |
| Le Denier de César | 1888 | |
| Le Fantôme | 1889 | |
| Le feu d'artifice (Fireworks) | 1887 | Painting |
| Le grand bassin d' Ostende | 1888 | |
| Le Meuble hanté | 1888 | |
| Le moulin de Slykens (PK.MP.01186) | 1891 | |
| Le moulin de Slykens (PK.MP.01187) | 1891 | |
| Le Pisseur | 1887 | |
| Le Pont du Bois à Ostende | 1889 | |
| Le Réverbère | 1888 | |
| Le Roi Albert et son temps | 1932 | |
| Le Roi peste | 1895 | |
| Le verger | 1886 | |
| Leeuw en schildpad | 1880 | Drawing |
| Leeuw met haas | 1880 | Drawing |
| Leeuwin die prooi verscheurt | Date unknown | Drawing |
| Les adieux de Napoleon | 1897 | |
| Les Bains à Ostende | 1899 | |
| Les barques | Date unknown | Drawing |
| Les bons juges | 1894 | |
| Les cataclysmes, Vision devançant le futurisme | 1888 | |
| Les Cuisiniers dangereux | 1896 | Drawing |
| Les Demons me turlupinant | 1895 | |
| Les Diables Dzitts et Hihahox menant le Christ aux enfers | 1895 | |
| Les étoiles au cimetière | 1888 | |
| Les gendarmes | 1888 | |
| Les Insèctes Singuliers | 1888 | |
| Les masques | 1922 | |
| Les Masques et la Mort | 1898 | Painting |
| Les Mauvais médécins | 1895 | |
| Les patineurs | 1889 | |
| Les petites barques | 1894 | |
| Les peupliers | 1889 | |
| Les toits à Ostende | 1903 | |
| Les Vieux Polissons | 1895 | |
| Lezende man | 1880 | Drawing |
| Lezende man en hoofden | Date unknown | Drawing |
| Liggende leeuw | 1880 | Drawing |
| Liggende vrouw | 1908 | Drawing |
| Light stripped of leaves | 1936 | Painting |
| Lion | Date unknown | Drawing |
| Little Houses at Mariakerke | 1888 | |
| Little View of Mariakerke | 1887 | |
| Little View of Mariakerke | 1900 | |
| Lust | 1888 | |
| Lust (La luxure) | 1888 | |
| Luxure | 1888 | |
| Ma tante chérie | Date unknown | Painting |
| Madam Gratiot | 1880 | Drawing |
| Man, drinkglas en figuurtjes | 1881 | Drawing |
| Man en boot, stoel | Date unknown | Drawing |
| Man en plant | Date unknown | Drawing |
| Man en twee gehurkte figuurtjes | Date unknown | Drawing |
| Man in profiel | 1917 | Drawing |
| Man met baard | Date unknown | Drawing |
| Man met hoed | 1880 | Drawing |
| Man met pet | Date unknown | Drawing |
| Man met verfpot | 1880 | Drawing |
| Man of Sorrows | 1891 | Painting |
| Man steunend op een stok | Date unknown | Drawing |
| Mand met vruchten | 1935 | Drawing |
| Mannelijke naakten | Date unknown | Drawing |
| Manshoofd in profiel | Date unknown | Drawing |
| Marche des Rotariens Ostendais | 1923 | |
| Maria Boodschap | 1921 | |
| Marine met duin en zeilboten | 1917 | Drawing |
| marine / zeegezicht | 1910 | Painting |
| Marionet en schouwstijl | Date unknown | Drawing |
| Mars van de Oostendse Rotariërs | 1922–1923 | |
| Mars van de Oostendse Rotariërs | 1923 | |
| Mask and Crustaceans | 1891 | Painting |
| Masked woman | Date unknown | Drawing |
| Masks | 1925 | Painting |
| Masks | Date unknown | Drawing |
| Masks Confronting Death | 1888 | Painting |
| Masques Scandalisés | 1895 | |
| Materiaalstudie | Date unknown | Drawing |
| Mazurka Caprice de James Ensor | Date unknown | Artwork |
| Meadow Flowers | 1883 | Painting |
| Meeting in a Park | 1891 | |
| Meisje | 1885 | Drawing |
| Meisje met wipneus (?) en Arondskelken | 1880 | Drawing |
| Meisje met witte voorschoot | 1880 | Drawing |
| Mejuffrouw Zucchi van de 'Eden' | Date unknown | Drawing |
| Mensenmenigte | Date unknown | Drawing |
| Menu Charles Vos | 1896 | |
| Menu for Charles Vos | 1896 | |
| Menu for Ernest Rousseau | 1896 | |
| Menu pour Charles Vos | 1896 | |
| Menu pour Ernest Rousseau, PK.MP.04906 | 1896 | |
| Menu pour Ernest Rousseau, PK.MP.04907 | 1896 | |
| Mery Laurent met mopshond | Date unknown | Drawing |
| Mijn dode moeder | 1915 | Drawing |
| Mijn dode moeder II | 1915 | Drawing |
| Mijn dode moeder III | 1915 | Drawing |
| Mijn dode moeder IV | 1915 | Drawing |
| Mijn dode tante | 1916 | Drawing |
| Mijn dode vader | 1888 | |
| Mijn handen | 1928 | Drawing |
| Mijn moeder bij naaiwerk (verso) | Date unknown | Drawing |
| Mijn portret | 1905 | Drawing |
| Mijn portret in 1960 | 1888 | |
| Mijn portret met doodshoofd | 1889 | |
| Mijn tante | Date unknown | Drawing |
| Mijn zuster en schets van een schilderij | 1880 | Drawing |
| Militair te paard, en stoel | Date unknown | Drawing |
| Militairen | 1880 | Drawing |
| Militairen | Date unknown | Drawing |
| Militairen en silhouetten | Date unknown | Drawing |
| Minnetuin | 1888 | |
| Mitche | 1880 | Drawing |
| Mitche | Date unknown | Drawing |
| Mitche Ensor | 1885 | Drawing |
| Model of a ship | 1885 | Drawing |
| Moeder van Ensor | 1870 | Drawing |
| Moeder van Ensor | 1880 | Drawing |
| Moeder van Ensor | Date unknown | Drawing |
| Moeder van Ensor en silhouetten | 1880 | Drawing |
| Moeder van Ensor - voet en handen | 1880 | Drawing |
| Molen te Slykens | 1891 | |
| Mon père mort | 1888 | |
| Mon père mort, PK.MP.04915 | 1888 | |
| Mon père mort, PK.MP.04916 | 1888 | |
| Mon Portrait en 1960 | 1888 | |
| Monkey | Date unknown | Drawing |
| Monniken bij het balspel | Date unknown | Drawing |
| Monotype | Date unknown | Drawing |
| Monsters and Caricatures | 1888 | Drawing |
| Mordecai's Triumph | 1880 | Drawing |
| Moses and the Birds | 1924 | Painting |
| Mother of Rembrandt and other Figures | 1880 | Drawing |
| moulin: Slykens | 1891 | |
| Mountain Landscape | 1890 | Drawing |
| Mountain Landscape | Date unknown | Drawing |
| Music in the Vlaanderenstraat | 1891 | Painting |
| Music-making group | 1877 | Drawing |
| Music on the Rue de Flandres | 1890 | |
| Musiciens fantasques | 1888 | |
| Muziek in de Vlaanderenstraat in Oostende | 1890 | |
| My Dead Father | 1888 | |
| My Favorite Room | 1892 | Painting |
| My Portrait as a Skeleton | 1889 | |
| My Portrait in 1960 | 1888 | |
| My Skeletized Portrait | 1889 | |
| My Sleeping Aunt Dreaming of Monsters | 1888 | Drawing |
| Mythologische scène | 1877 | Drawing |
| Naaiende handen | Date unknown | Drawing |
| Naaiwerk (De handen) | Date unknown | Drawing |
| Naakten en harlekijnen | Date unknown | Drawing |
| Naked boy | 1878 | Painting |
| Napoleon's Farewell | 1897 | |
| Narren | Date unknown | Drawing |
| Nature morte au canard | 1910 | Painting |
| Neptunus | Date unknown | Drawing |
| Neushoorn | Date unknown | Drawing |
| Nimfen | 1923 | Drawing |
| Odalisk | Date unknown | Drawing |
| Old Lady with Masks | 1889 | Painting |
| Old man | 1878 | Painting |
| Old Man with Flowing Beard | 1880 | Drawing |
| Oostende, gezicht vanuit het station | Date unknown | Drawing |
| Oostendse verhalen door Theo Hannon | Date unknown | Drawing |
| Oostendse visser | 1900 | |
| Oosters paar | Date unknown | Drawing |
| Op de koerstribune | 1880 | Drawing |
| Open haard | Date unknown | Drawing |
| Openstaand raam met loodglas | Date unknown | Drawing |
| Operascène | Date unknown | Drawing |
| Opgebonden overgordijn | Date unknown | Drawing |
| Ophelia | Date unknown | Drawing |
| Orchard (Le Verger) | 1886 | |
| Orgueil | 1904 | |
| Ornament - Head of a monster | Date unknown | Drawing |
| Ornament - kop | Date unknown | Drawing |
| Ornament - Leeuwenkop | Date unknown | Drawing |
| Ornament - Lion's head | Date unknown | Drawing |
| Ostend Harbour | 1900 | Painting |
| Oude vrouw en kind | Date unknown | Drawing |
| Paar | Date unknown | Drawing |
| Paar in interieur | Date unknown | Drawing |
| Paar voor rustbed | 1880 | Drawing |
| Paard en silhouetten | Date unknown | Drawing |
| Paarden en hoek van zitbank | Date unknown | Drawing |
| Paarden en tekst | Date unknown | Drawing |
| Paarden en vrouw | Date unknown | Drawing |
| Paarden en zittende man | Date unknown | Drawing |
| Paarden, kar en werkman | 1880 | Drawing |
| Paresse | 1902 | |
| Pear, grapes and nuts | 1889 | Painting |
| Péchés capitaux dominés par la mort | 1904 | |
| Pécheur d'Ostende, PK.MP.04918 | 1900 | |
| Pécheur d'Ostende, PK.MP.04919 | 1900 | |
| Pécheur d'Ostende, PK.MP.04920 | 1900 | |
| Peculiar Insects | 1888 | |
| Pen and inkpot on a glass dish | 1885 | Drawing |
| Peonies and Poppies | 1883 | Painting |
| Perplexed Masks | 1904 | |
| Peste dessous, peste dessus, peste partout! | 1904 | |
| Petite vue de Mariakerke | 1887 | |
| Petite vue de Mariakerke | 1900 | |
| Petite vue de Mariakerke (PK.MP.04893) | 1887 | |
| Pierrot and Skeleton in a Yellow Robe | 1893 | Painting |
| Pierrot and skeletons | 1906 | Painting |
| Pierrot's despair | 1910 | Painting |
| Pigs | 1875 | Painting |
| Pink Dancer (from the series Les Opalines) | 1913 | |
| Plage de La Panne | 1904 | |
| Plage de La Panne (PK.MP.04897) | 1904 | |
| Plague here, Plague there, Plague everywhere | 1888 | Drawing |
| Poezen en raam | 1870 | Drawing |
| Pollution Under, Pollution over, Pollution All Around | 1904 | |
| Popje | 1886 | Drawing |
| Porcelaines et Masques | 1929 | Painting |
| Portrait d'Ernest Rousseau | 1887 | |
| Portrait D'Hector Denis | 1890 | |
| Portrait de Augusta Bogaerts (La Sirene) | Date unknown | Painting |
| Portrait du professeur Ernest Rousseau | 1887 | |
| Portrait of a Boy | 1906 | Painting |
| Portrait of a Man | 1880 | Drawing |
| Portrait of a Man | Date unknown | Drawing |
| Portrait of Emile Verhaeren | 1890 | Painting |
| Portrait of Hector Denis | 1890 | |
| Portrait of René Coens | 1937 | Drawing |
| Portrait of the Artist Henry de Groux | 1883 | Drawing |
| Portrait of the Artist's Father | 1881 | Painting |
| Portrait of the Artist's Mother | 1882 | Painting |
| Portrait of the Artist Willy Finch | 1883 | Drawing |
| Portrait of the Artist’s Mother | 1885 | Painting |
| Portrait of Willy Finch | 1882 | Painting |
| Portret van Alexandra Daveluy | 1927 | Painting |
| Portret van Dario de Regoyos schrijvende | 1880 | Drawing |
| Portret van een vrouw | Date unknown | Drawing |
| Portret van Ernest Rousseau | 1887 | Drawing |
| Portret van Hector Denis | 1890 | |
| Portret van mijn moeder en figuren | 1880 | Drawing |
| Portret van Willy Finch | 1888 | Drawing |
| Portret van Willy Finch op de rug | 1880 | Drawing |
| Poster of La Plume | 1922 | |
| Poster of the Carnival at Ostend | 1931 | |
| Pouilleux indisposé se chauffant | 1895 | |
| Pride | 1904 | |
| Pride (L'orgueil) | 1904 | |
| Programma van de opvoering van het ballet "La Gamme d'Amour" - Schouwburg Oostende 17 december 1932 | 1932 | |
| Pronkkast en figuren | 1880 | Drawing |
| Publicitaire sluitzegel voor het carnaval van Oostende | 1931 | |
| Puzzled Masks | 1904 | |
| Queen Parysatis | 1899 | |
| Regentessen van het Oudemannenhuis in Haarlem. Een figuur | 1880 | Drawing |
| Regentessen van het Oudemannenhuis in Haarlem. Handen | 1880 | Drawing |
| Regentessen van het Oudemannenhuis in Haarlem. Mouw van een regentes | 1880 | Drawing |
| Regentessen van het Oudemannenhuis in Haarlem. Twee paar handen | 1880 | Drawing |
| Rembrandt's Self Portrait | 1880 | Drawing |
| Rendez notre ancienne face fors les chers faux nez burlesques | 1923 | Drawing |
| René Lyr | Date unknown | Drawing |
| Reptiel en dierenkopje | Date unknown | Drawing |
| Return from Calvary | 1877 | Painting |
| Return of the prodigal son | 1877 | Painting |
| Reverences of Puppets before Cydalise (from the series Les Opalines) | 1913 | |
| Rocaillemotief (verso) | 1888 | Drawing |
| Roi Peste | 1895 | |
| Roman Triumph | 1889 | |
| Roman Victory | 1889 | |
| Roofs at Ostend | 1903 | |
| Rooftops of Ostend | 1885 | Painting |
| Rue du Bon Secours, Brussels | 1887 | |
| Rue du Bon Secrous, Brussels | 1887 | |
| Ruiter | 1870 | Drawing |
| Ruiter van de lichte artillerie | Date unknown | Drawing |
| Russian Music | 1881 | Painting |
| Rustend paar | Date unknown | Drawing |
| Rustend vrouwelijk naakt | Date unknown | Drawing |
| Rustende vrouw | Date unknown | Drawing |
| Rustic Bridge | 1889 | |
| Salisbury Cathedral from the Meadows | 1880 | Drawing |
| Satan and the Fantastic Legions Tormenting the Crucified (The Sad and Broken) (recto) | 1886 | Drawing |
| Sater | Date unknown | Drawing |
| Satire of Laurent Tailhade | Date unknown | Drawing |
| Scandalized Masks | 1895 | |
| Schedels en maskers | 1888 | |
| Schets naar oude meester en figuren (recto) | 1880 | Drawing |
| Schetsblad met Christusbeeld | Date unknown | Drawing |
| Schetsblad met ruiters | Date unknown | Drawing |
| Schetsblad met staande man | Date unknown | Drawing |
| Schetsbladen op een blad | Date unknown | Drawing |
| Schetsboek | Date unknown | Drawing |
| Schetsen | 1880 | Drawing |
| Schetsen van figuren en paarden (recto) | 1880 | Drawing |
| Schetsen van handen | Date unknown | Drawing |
| Schildpad | Date unknown | Drawing |
| Schouw en handen | 1887 | Drawing |
| Schrijvende man | 1880 | Drawing |
| Schrijvende of lezende man | Date unknown | Drawing |
| Schrijvende vrouw op rug gezien | 1882 | Drawing |
| Seascape | 1880 | Painting |
| Seashells | 1896 | Painting |
| Seashells | 1936 | Painting |
| Seashells and Chinoiseries | 1882 | Painting |
| Seaside | 1923 | Painting |
| Seated Boy | 1880 | Drawing |
| Seated Man | Date unknown | Drawing |
| Seated Woman | Date unknown | Drawing |
| Selbstporträt umringt von Köpfen | 1900 | Drawing |
| Self Portrait | 1870 | Drawing |
| Self Portrait | 1880 | Drawing |
| Self-Portrait | 1885 | Drawing |
| Self-Portrait | 1886 | |
| Self Portrait | Date unknown | Drawing |
| Self-portrait with flowered hat | c. 1885–1888 (inscribed 1883) | Painting |
| Self-Portrait (with lamp) | 1886 | |
| Self-Portrait with Lamp (In the Dark) | 1886 | Drawing |
| Self-portrait with masks | 1899 | Painting |
| Self-Portrait with Masks | 1937 | Painting |
| Series of Masks | Date unknown | Drawing |
| Sick Wretch Warming Himself | 1895 | |
| Sierpot en paard | 1880 | Drawing |
| Silhouette of a Woman, Mitche and a Lock | 1885 | Drawing |
| Silhouetten | 1880 | Drawing |
| Silhouetten | 1917 | Drawing |
| Silhouetten | 1918 | Drawing |
| Silhouetten | Date unknown | Drawing |
| Silhouetten en 2 figuren op de rug gezien | Date unknown | Drawing |
| Silhouetten en hoofden | 1880 | Drawing |
| Silhouetten en kar | Date unknown | Drawing |
| Silhouettes | 1880 | Drawing |
| Silhouettes and grotesque figures | 1880 | Drawing |
| Silhouettes Studies of walking figures | Date unknown | Drawing |
| Skelet bekijkt chinoiserieën | 1910 | Painting |
| Skeleton Looking at Chinoiseries | 1885 | Painting |
| Skeleton Painter in his Studio | 1896 | Painting |
| Skeletons fighting over a Hanged Man | 1891 | Painting |
| Skeletons Fighting over a Pickled Herring | 1891 | Painting |
| Skeletons in Fancy Dress | 1898 | Painting |
| Skeletons in the Studio | 1900 | Painting |
| Skeletons seeking warmth | Date unknown | |
| Skeletons Trying to Warm Themselves (Taevernier: Warmth Seeking Skeletons) | 1895 | |
| Skeletons Warming Themselves | 1889 | Painting |
| Skulls and Masks | 1888 | |
| Slapend meisje | Date unknown | Drawing |
| Slapende en wakende vrouw | 1880 | Drawing |
| Slapende honden | 1880 | Drawing |
| Slapende moeder van Ensor | 1915 | Drawing |
| Slapende oude vrouw | 1880 | Drawing |
| Slapende oude vrouw | 1895 | Drawing |
| Slapende oude vrouw | 1897 | Drawing |
| Slapende oude vrouw | Date unknown | Drawing |
| Slapende vrouw | Date unknown | Drawing |
| Sloepen | 1888 | |
| Sloops | 1890 | Painting |
| Sloth | 1902 | |
| Sloth | 1904 | |
| Sloth (La paresse) | 1902 | |
| Small Bizarre Figures | 1888 | |
| Small House at Mariakerke | 1888 | |
| Small View of Mariakerke | 1900 | |
| Smid en kandelaar | Date unknown | Drawing |
| Smidse met twee figuren (recto) | 1880 | Drawing |
| Smile of Carnations, Caress of Daisies | 1936 | Painting |
| Snuisterijen en figuren | 1883 | Drawing |
| Soldaat en monnik | Date unknown | Drawing |
| Soldatentrupp | Date unknown | Drawing |
| Soldier and horse | Date unknown | Drawing |
| Sorciers dans la bourrasque | 1888 | |
| Sous-bois à Groenendael | 1888 | |
| Spijskaart voor Charles Vos | 1896 | |
| Spitting man | Date unknown | Drawing |
| Spookgestalte | Date unknown | Drawing |
| Squall at the Edge of the Wood | 1888 | |
| Square Rembrandt, Amsterdam graphic | Date unknown | |
| Squelettes voulant se chauffer | 1895 | |
| Squelettes voulant se chauffer | Date unknown | Drawing |
| Staande en zittende zigeunersvrouw | Date unknown | Drawing |
| Staande figuur op de rug gezien | Date unknown | Drawing |
| Stadhuis van Oudenaarde | 1888 | |
| Stand of Trees (Bouquet d'arbres) | 1888 | |
| Stapel boeken | 1880 | Drawing |
| Steam-Boats | 1888–1889 | |
| Steamboats | 1889 | |
| Steamships | 1889 | |
| Steekspel | Date unknown | Drawing |
| Sterrenhemel boven het kerkhof | 1888 | |
| Still-life (Fabrics) | 1880 | Painting |
| Still Life in the Studio | 1889 | Painting |
| Still life with a cabbage | 1921 | Painting |
| Still Life with Blue Jar | 1890 | Painting |
| Still Life with Blue Pitcher | 1891 | Painting |
| Still Life with chinoiseries | 1880 | Painting |
| Still Life with Chinoiseries | 1906 | Painting |
| Still-life with duck | 1880 | Painting |
| Still Life with Fish and Shells | 1898 | Painting |
| Still Life with Geranium | 1882 | Painting |
| Still-life with Masks | 1896 | Painting |
| Still Life with Oysters | 1882 | Painting |
| Still Life with Sea Shells | 1923 | Painting |
| Still Life with Tulips and Roses | 1882 | Painting |
| Stilleven met blauwe chinoiserieën | Date unknown | Painting |
| Stilleven met flessen | Date unknown | Drawing |
| Stilleven met groenten | 1882 | Painting |
| Stilleven met kaars | Date unknown | Drawing |
| Stilleven met sater | Date unknown | Drawing |
| Stilleven met visserslamp | Date unknown | Drawing |
| Stilleven, spiegel, zittende figuur | Date unknown | Drawing |
| Stillleben mit blauer Flasche und gerupftem Huhn - 4420 - Österreichische Galerie Belvedere | 1910 | Painting |
| Storm at the Edge of the Wood | 1888 | |
| Straat in Oostende (?) | 1895 | Drawing |
| Straat naast het kanaal | Date unknown | Drawing |
| Straatlantaarn | 1888 | |
| Strand- en zeegenoegens | 1890 | Drawing |
| Strand von Ostende - 2122 - Kunsthaus Zürich | 1915 | Painting |
| Strandtent en silhouetten | Date unknown | Drawing |
| Streaming water | 1913 | Drawing |
| Studie | Date unknown | Drawing |
| Studie met flessen en koppen | Date unknown | Drawing |
| Studie van badende vrouwen | Date unknown | Drawing |
| Studie van dame met parasol | Date unknown | Drawing |
| Studie van drie staande en een zittende figuur [recto: De bergrede] | Date unknown | Drawing |
| Studie van een badende vrouw | Date unknown | Drawing |
| Studie van een wild dier | Date unknown | Drawing |
| Studie van handen en hoofden | 1880 | Drawing |
| Studie van houdingen | Date unknown | Drawing |
| Studie van kerstgroepen | Date unknown | Drawing |
| Studie van kopprofielen en van handen | 1880 | Drawing |
| Studieblad van de leeuwenjacht | Date unknown | Drawing |
| Studies for a Portrait of a Woman | 1885 | Drawing |
| Studies van voorovergebogen hoofd | 1880 | Drawing |
| Sunrise | 1880 | Drawing |
| Tafel, kruiken, roemer, figuren (verso) | 1888 | Drawing |
| Tafel met leeuwenkoppen | Date unknown | Drawing |
| Taferelen uit het leven van Christus | 1921 | |
| Taskin als wonderdokter in Hoffmann's vertellingen | Date unknown | Drawing |
| Tekeningen uit de collectie van het KMSKA | Date unknown | Drawing |
| Tekst | Date unknown | Drawing |
| Tekst en hoofd van een vrouw met bril en figuren (verso) | 1880 | Drawing |
| Tenhemelopneming van Maria | 1921 | |
| Terugkeer van de berenjacht in het steentijdperk | Date unknown | Drawing |
| The absinthe drinker | 1880 | Drawing |
| The Acacia (L'acacia) | 1888 | |
| The Adoration of the Shepherds | 1887 | Painting |
| The Adoration of the Shepherds | 1888 | |
| The Adoration of the Shepherds (The Joyful) | 1886 | Drawing |
| The Afternoon Nap (recto) | 1880 | Drawing |
| The artist's aunt | 1880 | Drawing |
| The artist's father in death | Date unknown | Drawing |
| The artist's mother | 1880 | Drawing |
| The Artist's Mother in Death | 1915 | Painting |
| The artist's sister Mitche and figure | Date unknown | Drawing |
| The Artist's Studio | 1930 | Painting |
| The Assassination | 1888 | |
| The Assassination | 1890 | Painting |
| The Bad Doctors | 1892 | Painting |
| The Bad Doctors | 1895 | |
| The Bad Doctors graphic | 1895 | |
| The Baths at Ostend | 1890 | Painting |
| The Baths at Ostend | 1899 | |
| The Baths at Ostende | 1899 | |
| The Battle of the Golden Spurs | 1891 | Drawing |
| The bird-garden | 1936 | Painting |
| The Bourgeois Salon | 1881 | Painting |
| The Bourgeois Salon II | 1911 | Painting |
| The Breakwater | 1878 | Painting |
| The Bridge in the Wood at Ostend | 1889 | |
| The Bridge in the Woods, Ostend (Le pont du bois a Ostende) | 1889 | |
| The cabbage | 1880 | Painting |
| The Canal | 1921 | Painting |
| The Cataclysms | 1888 | |
| The Cathedral | 1886 | |
| The Cathedral | 1886–1896 | |
| The Cathedral (La cathedrale) | 1886 | |
| The Cathedral (The Troopers Kès and Pruta Entering the City of Bise) | 1892 | Drawing |
| The Cemetery | 1888 | |
| The City Hall in Audenarde (L'hotel de ville d'Audenarde) | 1888 | |
| The Coach | Date unknown | Drawing |
| The Combat | 1896 | |
| The Convalescent | 1880 | Painting |
| The Conversation | Date unknown | Drawing |
| The Crypt | 1888 | |
| The cuirassiers of Waterloo | 1891 | Drawing |
| The Dangerous Cooks | 1896 | Painting |
| The Dead Cockerel | 1894 | Painting |
| The Dead Soldier | Date unknown | Drawing |
| The Deadly Sins Dominated by Death | 1904 | |
| The Death of the Holy Virgin | 1880 | Drawing |
| The Destroying Angel | 1889 | |
| The Devil and the Windmill | 1934 | |
| The Devils Dzitts and Hihahox, Commanded by Crazon Riding a Furious Cat, Leading Christ to Hell | 1886 | Drawing |
| The Devils Dzitts and Hihahox, Commanded by Crazon Riding a Furious Cat, Leading Christ to Hell | 1895 | |
| The Devils Dzitts and Hihanox Leading Christ into Hell | 1895 | |
| The Devils Dzitts and Hihanox Leading Christ to Hell | 1895 | |
| The dissolute mercenaries | 1892 | Drawing |
| The edge of the wood in Ostend | 1886 | Painting |
| The Elephant's Joke | 1888 | |
| The Entry of Christ into Brussels | 1895 | |
| The Entry of Christ into Brussels | 1898 | |
| The Entry of Christ into Brussels (L'entree du Christ a Bruxelles) | 1898 | |
| The Exterminating Angel | 1889 | |
| The Exterminating Angel (L'ange exterminateur) | 1889 | |
| The Fantastic Ball | 1889 | |
| The Fantastic Musicians | 1888 | |
| The Fight | 1896 | |
| The Fight | 1925 | Painting |
| The Flagellation | 1886 | |
| The Flaying | 1888 | |
| The fool | Date unknown | Drawing |
| The Gamblers | 1895 | |
| The Gamblers | 1896 | |
| The garden at café Tivoli in Ostend | 1876 | Painting |
| The Garden of Love | 1888 | |
| The Garden of Love | 1921 | Painting |
| The Garden of Love (1891) | 1891 | Painting |
| The Garden of Love (Toyota) | 1888 | Painting |
| The Garden of the Rousseau Family | 1885 | Painting |
| The Gendarmes | 1888 | |
| The gendarmes | 1892 | Painting |
| The Ghost | 1889 | |
| The Goldsmith Jan Lutma | Date unknown | Drawing |
| The Good Judges | 1894 | |
| The Grotesque Musicians | 1888 | |
| The Guitarist | Date unknown | Drawing |
| The Hands of Elisabeth Bas | 1880 | Drawing |
| The haunted cabinet | 1888 | |
| The Haunted Furniture | 1888 | |
| The Hunter | 1888 | |
| The Ice Skaters (Les Patineurs) | 1889 | |
| The infernal cortege | 1880 | |
| The Infernal Cortege | 1887 | |
| The Intrigue | 1890 | Painting |
| The Jolly Hunters | Date unknown | Drawing |
| The Journalist Paul de Cassagnac | Date unknown | Drawing |
| The lady in blue | 1881 | Painting |
| The Lady in Distress | 1882 | Painting |
| The Lady with Fan | 1880 | Painting |
| The Lady with Red Parasol | 1880 | Painting |
| The lampions | Date unknown | Drawing |
| The Lamplighter | 1880 | Painting |
| The Lamplighter | 1886 | Drawing |
| The language of flowers | 1938 | Painting |
| The Lighthouse at Ostend | 1885 | Painting |
| The Magdalene | 1887 | |
| The Main Dock of Ostend | 1888 | |
| The Main Dock, Ostend | 1888 | |
| The Marquise | 1911 | Painting |
| The Marsh | 1880 | Painting |
| The Mask's Wedding | 1926 | Painting |
| The Master Painter | Date unknown | Drawing |
| The Melancholy Fishwives | 1892 | Painting |
| The Multiplication of the Fishes | 1891 | |
| The Murder | 1888 | |
| The Music in the rue de Flandre, Ostend | 1890 | |
| The Mystical Death of a Divine | 1880 | Drawing |
| The Old Rascals | 1895 | |
| The Old ... Raskals | 1895 | |
| The Orchard | 1886 | |
| The Oyster Eater | 1882 | Painting |
| The Painter Alfred William Finch | 1880 | Painting |
| The Painter Edouard Manet | 1880 | Drawing |
| The Painter Edouard Manet | Date unknown | Drawing |
| The Painter Eugène Delacroix | Date unknown | Drawing |
| The Painter Gustave Courbet | Date unknown | Drawing |
| The Painter Jan Asselijn or "Crabbetje | 1880 | Drawing |
| The Painter Jean François Millet | Date unknown | Drawing |
| The Pancake Woman | 1880 | Drawing |
| The Parasol | 1880 | Painting |
| The piano | 1880 | Drawing |
| The Pisser | 1886 | |
| The Pisser | 1887 | |
| The Playwright Emile Augier | Date unknown | Drawing |
| The Poet Jean Richepin | Date unknown | Drawing |
| The Pool of the Poplars | 1889 | |
| The Pool of the Poplars graphic | 1889 | |
| The Port of Ostend (Vue du port d'Ostende) | 1888 | |
| The Procession at Gistel | 1934 | |
| The Procession of the Penitents at Furnes | 1935 | Painting |
| The Ray | 1892 | Painting |
| The Rebel Angels Struck by Lightning | 1907 | |
| The red mullet | 1880 | Painting |
| The Riding Crop | Date unknown | Drawing |
| The Roman Triumph | Date unknown | Drawing |
| The Rooftops of Ostend | 1884 | Painting |
| The rooftops of Ostend | 1901 | Painting |
| The Rower | 1883 | Painting |
| The Savoy Cabbage | 1884 | Painting |
| The scaffolding | 1880 | Drawing |
| The Scandalized Masks | 1883 | Painting |
| The Scavenger | 1896 | |
| The Scoundrels | 1896 | |
| The Seashells (Columbus) | 1895 | Painting |
| The Shadow on the House | 1933 | |
| The Skate | 1880 | Painting |
| The Skaters | 1888–1889 | |
| The Skaters | 1889 | |
| The Sleeper | 1887 | |
| The Small Boats | 1894 | |
| The Sombre Lady | 1881 | Painting |
| The Stars in the Cemetery | 1888 | |
| The strange masks | 1892 | Painting |
| The Street-Lamp | 1888 | |
| The strike | 1888 | Drawing |
| The Supper at Emmaus | 1880 | Drawing |
| The Temptation of Christ | 1888 | |
| The Temptation of Christ | 1913 | Painting |
| The Temptation of Saint Anthony | 1887–1888 | Drawing |
| The Temptation of Saint Anthony the Great | 1927 | Painting |
| The Terrible Archer | 1888 | |
| The Thunderstorm | 1889 | |
| The Tournament | 1894 | Drawing |
| The Tribulations of St. Anthony | 1909 | Painting |
| The Triumph of the Death | 1887 | Drawing |
| The Van Iseghemlaan in the snow | 1881 | Painting |
| The Vengeance of Hop-Frog | 1896 | Painting |
| The Virgin of Consolation | 1892 | Painting |
| The Wait | 1880 | Painting |
| The War of the Snails | 1911 | |
| The White Cloud | 1884 | Painting |
| The Windmill at Mariakerke | 1889 | |
| The wise judges | 1891 | Painting |
| The Wise Judges | 1894 | |
| The Youth of Orpheus | Date unknown | Drawing |
| Theatre of Masks | 1889 | Painting |
| Theatre of Masks (1908) | 1908 | Painting |
| Theo Hannon | 1880 | Drawing |
| Theo Hannon | 1881 | Painting |
| Theo Hannon met pijp | 1880 | Drawing |
| Three Silhouettes (recto) | 1880 | Painting |
| Tijgerjacht | Date unknown | Drawing |
| Toilettafel met wasstel en spiegel | Date unknown | Drawing |
| Tolstoï | Date unknown | Drawing |
| Toneelfiguren | Date unknown | Drawing |
| Toneelfiguur | Date unknown | Drawing |
| Toneelscène | 1910 | Drawing |
| Tovenaars in de stormwind | 1888 | |
| Town Hall of Audenaerde | 1888 | |
| Trap, man, gebladerte (detail) | Date unknown | Drawing |
| Treurende vrouw en leeuwenkop | 1870 | Drawing |
| Tribulations of Saint Anthony | 1887 | Painting |
| Triomftocht van een Romeinse Veldheer | Date unknown | |
| Triomphe romain | 1889 | |
| Trommelaar | Date unknown | Drawing |
| Twee danseressen | Date unknown | Drawing |
| Twee figuren | Date unknown | Drawing |
| Twee figuren en ornament | Date unknown | Drawing |
| Twee heren | Date unknown | Drawing |
| Twee heren en pauw | Date unknown | Drawing |
| Twee honden | 1894 | Drawing |
| Twee hoofddeksels en boerinnetjes | Date unknown | Drawing |
| Twee hoofden | Date unknown | Drawing |
| Twee hoofden, paar, hand | Date unknown | Drawing |
| Twee knapen in het gras | 1880 | Drawing |
| Twee koperen potten (verso) | 1880 | Drawing |
| Twee kopjes en afdruk | Date unknown | Drawing |
| Twee koppen en een hand | 1880 | Drawing |
| Twee militairen | Date unknown | Drawing |
| Twee naakten op de rug gezien | Date unknown | Drawing |
| Twee ridderfiguren | Date unknown | Drawing |
| Twee trappen en mand | Date unknown | Drawing |
| Twee vrouwen | Date unknown | Drawing |
| Twee vrouwen en een theoloog | Date unknown | Drawing |
| Twee windmolens, zeilboot en kleine marine | Date unknown | Drawing |
| Twee zeilboten | Date unknown | Drawing |
| Twee zeilboten en een windmolen | 1950 | Drawing |
| Tweearmige pianokandelaar en muziekblad | Date unknown | Drawing |
| Two Arabs | Date unknown | Drawing |
| Two Dogs | Date unknown | Drawing |
| Two draught horses | Date unknown | Drawing |
| Two Gentlemen Smoking | Date unknown | Drawing |
| Two heads and a spinning-wheel | Date unknown | Drawing |
| Two masks | 1880 | Drawing |
| Two masks | Date unknown | Drawing |
| Two Nude Figures | Date unknown | Drawing |
| Two spoons and a curtain | 1885 | Drawing |
| Two Women | Date unknown | Drawing |
| Two women on a beach | Date unknown | Drawing |
| Un bon coin chez moi | 1938 | Painting |
| Under the Shadow of Masks | 1925–1937 | Painting |
| Untitled | Date unknown | |
| V. De Heilige Familie (uit: Taferelen uit het leven van Christus) | 1921 | |
| V. La Sainte Famille | Date unknown | |
| Vaas en vliegende eend | Date unknown | Drawing |
| Vaas en voeten (recto) | 1880 | Drawing |
| Vaas met bloemen | Date unknown | Drawing |
| Vaas met bloemen en schelp | 1932 | Drawing |
| Vaas met bloemornamenten | Date unknown | Drawing |
| Vaas met vismotief en vrouw met bloemenvaas | 1880 | Drawing |
| Vaas, paard en figuren (verso) | 1880 | Drawing |
| Vaas, spinnewiel, soldaten, vrouwen | Date unknown | Drawing |
| Vader (?) en moeder van Ensor | 1870 | Drawing |
| Van Iseghemlaan, Oostende | 1889 | |
| Van Izegemlaan in Ostend | 1880 | Drawing |
| Varken en silhouetten | Date unknown | Drawing |
| Verhaal zonder woorden (of) De jagers in de winter | 1881 | Drawing |
| Verovering van een vreemde stad | 1888 | |
| Verpesting beneden, verpesting boven, verpesting overal | 1904 | |
| verzameling van 184 etsen | Date unknown | |
| VI. De besnijdenis (uit: Taferelen uit het leven van Christus) | 1921 | |
| VI. La Circoncision | Date unknown | |
| Vier naakten | Date unknown | Drawing |
| Vier schouwburgbezoekers | Date unknown | Drawing |
| View of a beach with two boats | Date unknown | Drawing |
| View of a street with a barrow, a streetlamp and a man sitting on a bench | Date unknown | Drawing |
| View of Mariakerke | 1901 | Painting |
| View of Nieuport | 1888 | |
| View of Ostend in the East | 1888 | |
| View of Phnosie, luminous waves and vibrations | 1890 | Painting |
| View of the Ostend Harbour | 1888 | |
| View of the Van Iseghemlaan | 1906 | Painting |
| VII. De doop van Christus (uit: Taferelen uit het leven van Christus) | 1921 | |
| VII. Le Baptême du Christ | Date unknown | |
| VIII. Christus bij de schriftgeleerden (uit: Taferelen uit het leven van Christus) | 1921 | |
| VIII. Le Christ et les docteurs | Date unknown | |
| Vijf personages in een boot (verso) | 1880 | Drawing |
| Village Fair at the Windmill | 1889 | |
| Vissen op een schotel | Date unknown | Drawing |
| Visser met paard | Date unknown | Drawing |
| Vlam | Date unknown | Drawing |
| Vleugel tegen zonnestralen | Date unknown | Drawing |
| Vlucht naar Egypte | 1921 | |
| Vlugge schetsen van bedelaars | Date unknown | Drawing |
| Voetpaadje in Groenendaal | 1888 | |
| Voetpaadje te Groenendaal | 1888 | |
| Vogel en hond bij tak | Date unknown | Drawing |
| Voor de alcade | Date unknown | Drawing |
| Voorovergebogen figuren | 1880 | Drawing |
| Voorovergebogen figuur en tekst | Date unknown | Drawing |
| Vrouw aan klavier en Alfred William Finch | Date unknown | Drawing |
| Vrouw die pannenkoeken bakt | Date unknown | Drawing |
| Vrouw en hondje | Date unknown | Drawing |
| Vrouw, handen en kar | 1881 | Drawing |
| Vrouw in profiel gezien | Date unknown | Drawing |
| Vrouw - man en paard | 1880 | Drawing |
| Vrouw met hoed | Date unknown | Drawing |
| Vrouw met kind, zittend en staand paar | Date unknown | Drawing |
| Vrouw met naaiwerk | 1880 | Drawing |
| Vrouw met neergeslagen blik | Date unknown | Drawing |
| Vrouwenhoofd | 1883 | Drawing |
| Vrouwenhoofd | Date unknown | Drawing |
| Vrouwenhoofd en figuren | Date unknown | Drawing |
| Vrouwenhoofd en zittende figuur | Date unknown | Drawing |
| Vrouwenkop en figuurtjes | Date unknown | Drawing |
| Vrouwenkop en silhouetten | Date unknown | Drawing |
| Vrouwenprofiel (Mariette Rousseau) en andere figuren | 1885 | Drawing |
| Vue d'Ostende | 1893 | Painting |
| Vue D'Ostende à L'est | 1888 | |
| Vue de Nieuport | 1888 | |
| Vue du port d' Ostende | 1888 | |
| Waaier, lamp en figuren (recto) | 1880 | Drawing |
| Walkurengenoegens | Date unknown | Drawing |
| Wandelaar | 1883 | Drawing |
| Wasvrouwen bij de Middellandse zee | Date unknown | Drawing |
| Weggeveegde tekening | Date unknown | Drawing |
| Wenken der nimfen | 1923 | Drawing |
| Wenteltrap | Date unknown | Drawing |
| White and Red Clowns Evolving | 1890 | Drawing |
| Willy Finch in his Studio | 1880 | Painting |
| Willy Finch in the Studio | 1880 | Painting |
| Windmill | Date unknown | Drawing |
| Windmill and boats | Date unknown | Drawing |
| Windmill at Skykens | 1891 | |
| Windmill at Slijkens (Bredene) | 1891 | |
| Windmill at Slykens | 1891 | |
| Windmill "Den Oranjenboom | Date unknown | Drawing |
| Windmolen met zeilboot en met kerk | Date unknown | Drawing |
| Windstoot in het geboomte | 1888 | |
| Wit paard, stoel en figuren | 1880 | Drawing |
| Witches in the Whirlwind | 1896 | Drawing |
| Wizards in a Squall | 1888 | |
| Woman | Date unknown | Drawing |
| Woman on a Breakwater | 1880 | Painting |
| Woman reading | Date unknown | Drawing |
| Woman with a Hood and a Wasp | 1885 | Drawing |
| Woman with Blue Shawl | 1881 | Painting |
| Wordly meeting | Date unknown | Drawing |
| X. Laat de kleinen tot mij komen (uit: Taferelen uit het leven van Christus) | 1921 | |
| X. Laissez venir à moi les petits enfants | Date unknown | |
| XI. Christus drijft de duivel uit bij een bezetene (uit: Taferelen uit het leven van Christus) | 1921 | |
| XI. Le Christ chassant le Démon du corps d'un possédé | Date unknown | |
| XII. Christus bedaart de storm (uit: Taferelen uit het leven van Christus) | 1921 | |
| XII. Le Christ apaisant la tempête | Date unknown | |
| XIII. De wonderbare visvangst (uit: Taferelen uit het leven van Christus) | 1921 | |
| XIII. La Pêche miraculeuse | Date unknown | |
| XIV. Christus loopt op het water (uit: Taferelen uit het leven van Christus) | 1921 | |
| XIV. Le Christ marchant sur la mer | Date unknown | |
| XIX. Christus ter berechting overgeleverd aan de schriftgeleerden (uit: Taferelen uit het leven van Christus) | 1921 | |
| XIX. Le Christ aux critiques | Date unknown | |
| XV. De intrede in Jeruzalem (uit: Taferelen uit het leven van Christus) | 1921 | |
| XV. L'entrée à Jérusalem | Date unknown | |
| XVI. Het Laatste Avondmaal (uit: Taferelen uit het leven van Christus) | 1921 | |
| XVI. La Cène | Date unknown | |
| XVII. De judaskus (uit: Taferelen uit het leven van Christus) | 1921 | |
| XVII. Le baiser de Judas | Date unknown | |
| XVIII. De bespotting van Christus (uit: Taferelen uit het leven van Christus) | 1921 | |
| XVIII. Le Christ aux outrages | Date unknown | |
| XX. De geseling (uit: Taferelen uit het leven van Christus) | 1921 | |
| XX. La Flagellation | Date unknown | |
| XXI. De kruisweg (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXI. La montée au Calvaire | Date unknown | |
| XXII. De kruisoprichting (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXII. L'Élévation en croix | Date unknown | |
| XXIII. Christus tussen de moordenaars (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXIII. Le Christ entre les larrons | Date unknown | |
| XXIV. De kruisafneming (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXIV. La Descente de croix | Date unknown | |
| XXIX. De Heilige Geest verlicht de apostelen (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXIX. Le Saint Esprit éclairant les Apôtres | Date unknown | |
| XXV. Le retour du Calvaire | Date unknown | |
| XXV. Terugkeer van de Calvarieberg (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXVI. Le Christ sur les genoux de sa mère | Date unknown | |
| XXVI. Piëta (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXVII. Christus en de engelen (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXVII. Le Christ et les Anges | Date unknown | |
| XXVIII. De Hemelvaart (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXVIII. L'Ascension | Date unknown | |
| XXX. De Tenhemelopneming van Maria (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXX. L'Assomption | Date unknown | |
| XXXI. De engelen vereren Maria (uit: Taferelen uit het leven van Christus) | 1921 | |
| XXXI. La Vierge adorée par les Anges | Date unknown | |
| Yellow Apples | 1880 | Painting |
| Young Boy | 1882 | Drawing |
| Zakmes met bewerkte hecht | Date unknown | Drawing |
| Zeilboot | Date unknown | Painting |
| Zeilboot, dorpskerk en windmolen | Date unknown | Drawing |
| Zeilbootje | Date unknown | Drawing |
| Zeilboten | 1890 | Drawing |
| Zeilboten | Date unknown | Drawing |
| Zelfportret | 1919 | Drawing |
| Zelfportret en figuren - Ensor en zijn familie | 1886 | Drawing |
| Zelfportret onder leeuwenjacht | Date unknown | Drawing |
| Zelfportret ("Pas fini") | 1885 | Drawing |
| Zicht op Nieuwpoort | 1888 | |
| Zieke luizenbos bij de kachel | 1895 | |
| Zittend meisje en twee figuurtjes | 1917 | Drawing |
| Zittend naakt met gekruiste benen | Date unknown | Drawing |
| Zittende en staande heer | Date unknown | Drawing |
| Zolder, trap en mand (verso) | Date unknown | Drawing |
| Zonderlinge insecten | 1888 |
Frequently Asked Questions
No. Ensor painted it in 1888. The year 1889 belongs to the title and to the fictional future event he imagined: Christ entering modern Brussels amid carnival, civic ceremony and political display. Treating 1889 as the execution date turns a speculative title into a false object record.[1][2]
The unframed canvas measures 252.6 by 431 centimetres, approximately 8 feet 3 inches high by 14 feet 2 inches wide. The J. Paul Getty Museum in Los Angeles acquired it in 1987, and its accession number is 87.PA.96.[2][4] Its scale is essential to the experience: foreground faces approach the dimensions of bodies sharing the viewer’s space.
Look near the horizontal centre, below the large red banner and well behind the foremost figures. Christ is the small rider with a yellow halo and a red garment. He is compositionally central but visually easy to miss. That delayed discovery is purposeful, making the crowd’s distraction something viewers undergo rather than merely observe.[1][3]
It combines carnival revellers, masked or mask-like faces, public figures, social types, uniforms and signs. Scholars connect it with Belgian political conflict, organized demonstrations, civic pageantry and Ensor’s distrust of institutional and collective behaviour.[1][3] It should not be decoded as one party rally or a catalogue of securely identified portraits. The crowd’s instability—festival becoming protest, welcome becoming neglect—is its central meaning.
It transforms a biblical subject through the scale of history painting, the bite of caricature, the colour of carnival and the visual competition of a modern street. Its planned disorder makes Christ difficult to find while banners and faces dominate attention. The result expanded what religious, political and public painting could look like, and its distortion and intense handling later appeared prophetic of Expressionism without belonging neatly to that movement.[1][3]
Discussion
Use this evidence-led guide as a starting point for close looking rather than a final verdict.
Share an observation about Christ's Entry into Brussels in 1889 or a source that adds useful context.
Reader Insights
Which detail most changes your reading of Christ's Entry into Brussels in 1889?
How do scale, support, medium or present museum evidence shape the encounter?
What remains uncertain when visual inference is separated from documented fact?
Join the Conversation
Add your reading below, keeping observations specific and evidence clear.
References
- J. Paul Getty Museum, “James Ensor: Christ’s Entry into Brussels in 1889”. View source; Patricia G. Berman; 2002; accessed 30 August 2026.
- J. Paul Getty Museum, “Christ’s Entry into Brussels in 1889”. View source; collection record, 87.PA.96; accessed 30 August 2026.
- J. Paul Getty Museum, “Explore Christ’s Entry into Brussels in 1889”. View source; accessed 30 August 2026.
- Getty Vocabularies, Cultural Objects Name Authority, “Christ’s Entry into Brussels in 1889”. View source; CONA subject 700009041; accessed 30 August 2026.
- J. Paul Getty Trust, “James Ensor’s Masterpiece The Entry of Christ into Brussels in 1889 Is the Centerpiece of an Exhibition at the Getty Museum”. View source; 2014; accessed 30 August 2026.
- J. Paul Getty Museum, “Ensor’s Graphic Modernism”. View source; accessed 30 August 2026.
- J. Paul Getty Museum, “The J. Paul Getty Museum Journal”. View source; volume 16, 1988, acquisition record and provenance; accessed 30 August 2026.
