The haunting effect of Ensor's sea of masked figures, who cascade toward us on a surging, endless tide, is due in part, as the art historian Patricia Berman has described, to the collapsing perspectives and multiple viewpoints the artist employed to create a sense of chaos.
WSJ: A Macabre Kingdom of Masks | James Ensor | Christ's Entry Into Brussels in 1889 | By Mary Tompkins Lewis