The brash young artist James Ensor painted Christ's Entry into Brussels in 1889 during a period of extraordinary artistic and political fomentation in his native Belgium. It is one of the most dazzling, innovative, and perplexing paintings created in Europe in the late nineteenth century, rivaling any work of its period in audacity and ambition. Huge in scale, complex in design and execution, and brimming with social commentary, the startling canvas presents a scene filled with clowns, masked figures, and--barely visible amid the swirling crowds--the tiny figure of Christ on a donkey entering the city of Brussels. This insightful volume examines the painting in light of Belgium's rich artistic, social, political, and theological debates in the late nineteenth century, and in the context of James Ensor's exceptional career, in order to decipher some of the painting's messages and meanings.

It is announced that Jesus Christ is to visit Belgium in a few weeks time, on its national day, the 21st of July. Coincidentally, our narrator's mother dies and his marriage ends. Feeling very low, and fluctuating between resentment, irony and cynicism, he reports on the events and on the behaviour of his compatriots. The authorities squabble about how to receive Christ. They find an eleven-year-old girl in the asylum seekers' centre to act as Christ's Aramaic interpreter (Arabic, Aramaic, it's practically the same, right?). Neighbours resolve ancient feuds and communities gather together to confess and forgive en masse, no matter the depravity of the crime. As the date draws near, the whole city brightens up - there's never been a nicer time to have a Second Coming. This new novel by Dimitri Verhulst resembles a quirky pamphlet and a moral fable. The narrator considers himself part of the 'lost generation', which has no illusions about the state of the world - both in absurd Belgium and in the distressingly imperfect world beyond. He puts a finger on the symptomatic fever blisters of contemporary society, of the so-called 'malcontent mass'. With his bizarre imaginings, harsh criticisms and stylistic verve, he exposes an embarrassing reality, which often makes you laugh conspiratorially, and then cry.

It's Jesus. He's coming back. To Brussels. Get ready...

"The Superhuman Crew" brings together two visionary works of art--Ensor's masterpiece, "Christ's Entry intro Bussels in 1889" and Dylan's "Desolation Row"--in a surprising, thought-provoking format. 48 color illustrations.

The brash young artist James Ensor painted Christ's Entry into Brussels in 1889 during a period of extraordinary artistic and political fomentation in his native Belgium. It is one of the most dazzling, innovative, and perplexing paintings created in Europe in the late nineteenth century, rivaling any work of its period in audacity and ambition. Huge in scale, complex in design and execution, and brimming with social commentary, the startling canvas presents a scene filled with clowns, masked figures, and--barely visible amid the swirling crowds--the tiny figure of Christ on a donkey entering the city of Brussels. This insightful volume examines the painting in light of Belgium's rich artistic, social, political, and theological debates in the late nineteenth century, and in the context of James Ensor's exceptional career, in order to decipher some of the painting's messages and meanings.

This beautifully illustrated work brings together more than one hundred objects from the J. Paul Getty Museum’s collection of European decorative arts. Included here is a generous selection of French and Italian furniture from the mid-sixteenth to the early nineteenth century. Masterpieces by André-Charles Boulle, Bernard (II) van Risenburgh, and others reveal the virtuoso craftsmanship that makes these objects such compelling examples of the furniture maker’s art. Many of the Museum’s finest pieces of porcelain, glass, and tin-glazed earthenware are also represented. Tapestries from Gobelins and Beauvais, bronze firedogs from Fontainebleau, and a lathe-turned ivory goblet of astonishing complexity from Saxony are among the other highlights of this handsome volume.

Kolb has produced a thoroughly researched essay on this painting, which is in the Getty Museum. The study focuses on Brueghel's depiction of nature, especially his exacting representation of identifiable species of animals and birds, the names of which are listed. Brueghel's collaboration with other painters, his and other painters' re-use of the same theme and composition, and the history and practice of natural history collection and representation are central themes. The volume, which is printed in a horizontal format (it's 11x8") and heavily illustrated, is written for a general audience, though art historians will also find much of interest.