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Never in recent memory have public figures acted like such buffoons. But comedians have the unenviable task of making fun of people who are already caricatures of themselves. How to parody someone whose persona already amounts to a malicious burlesque? A contemporary of the Neo-Impressionists and Symbolists who belonged to neither group, Ensor reached his artistic maturity in s Belgium and was, along with Daumier, one of the first European artists since Goya to respond to the crises of modernity with laughter, in the deepest sense of the word.
They apply to everyone, because for him they constitute a utopian condition. What struck me immediately was an acerbic visual wit that spared no one, not even fellow artists, family, or friends. The original image depicts a congenial gathering, but the print imagines an unconcerned public expelling clouds of virus into the air with little regard for the nearby masked! The blatant disregard for public health by those with means—and the inordinate burden shouldered by those without them—could not have been made clearer.
The comic in Ensor extends well beyond timely social critique. Theorists of laughter from Baudelaire to Bakhtin have argued against reducing humor to contemporary satire. For one, jokes about current events can become meaningless once the events in question are no longer current although they can feel relevant again when circumstances, such as a pandemic or a broken judiciary, return.