Selvportræt 1843 - 1847

Curator: Here we have a painting on canvas, “Selvportræt”, or “Self-Portrait”, created between 1843 and 1847. The artist is Andreas Herman Hunæus, and it's part of the collection at the SMK, the National Gallery of Denmark. It immediately pulls me in— Editor: It's moody, isn't it? Brooding, almost. The dark tones against that little slice of sunset in the background...and those piercing eyes looking straight at you. He looks like he’s burdened by his own thoughts, as if any minute he will begin to passionately argue with them. Curator: Well, the self-portrait itself is an old, iconic form, a mirror reflecting the artist's inner world. The Romantic movement certainly fostered that exploration, emphasizing individualism, emotion, and even the sublime power of nature, all elements subtly at play here, no? Editor: Yes, exactly. That walking stick, for example. It feels almost like a staff, like the accoutrements of someone embarking on a spiritual or creative quest, against that stormy landscape. I am wondering whether it reflects nature to tame, to embrace or even to oppose nature. Curator: Symbolically, the staff can be that connection, sure. Hunæus here situates himself as a solitary figure in relation to nature. But his eyes... I think they are more than stormy, that romanticizing almost hides raw emotion. Editor: Perhaps it’s too on-the-nose to read it all as purely psychological angst, the stereotypical ‘tortured artist’ cliché…but I’m drawn to the theatricality of it all, nonetheless. I mean, even the high hat. He is creating a persona as much as he's revealing a true likeness. I get the feeling, to some extent, that his expression almost hides the fact that it is staged to an extent. Curator: I see what you mean. As the artist is observing themselves, maybe there’s a simultaneous performance, creating both vulnerability and control. Thank you, this opened my eyes. Editor: It's fascinating how art can unlock unexpected insights!