A satirical 1888 etching by James Ensor, depicting the artist as a skeleton to contemplate mortality and the passage of time.

James Ensor created this etching in 1888, a period when his work began to incorporate macabre and satirical themes. The print depicts the artist as a skeleton, reclining in a chair with a detached, almost humorous air. By titling the work with a date far into the future, Ensor engages in a form of dark self-reflection, contemplating his own mortality and the eventual decay of the physical body.

The composition is sparse, relying on fine, nervous lines to define the skeletal form against a neutral background. The figure is positioned in a relaxed, almost casual posture, which contrasts with the grim nature of the subject matter. This juxtaposition is characteristic of Ensor, who frequently used grotesque imagery to explore human vanity and the absurdity of existence. The etching technique allows for a delicate rendering of the bone structure, while the surrounding space remains largely empty, drawing the viewer's attention to the central figure.

Ensor was a central figure in the Belgian avant-garde, known for his rejection of traditional academic painting in favour of more expressive and personal subjects. His fascination with masks, skeletons, and carnival figures allowed him to critique societal norms and personal anxieties. This specific work is a notable example of his printmaking practice, where he could experiment with line and tone with greater freedom than in his larger oil paintings. The print captures a moment of quiet, existential irony, presenting the artist as he imagined himself long after his death. It remains a clear example of his ability to blend the morbid with the mundane, creating a visual narrative that is both unsettling and deeply personal.