Portræt af Christian IV 1625

Curator: Up next, we have a stately engraving, a portrait of Christian IV from 1625, crafted by Jan Harmensz. Muller. Editor: Whoa, okay. Immediately, I’m struck by this swirling grey atmosphere, like he's emerged from a hazy dream... or maybe a brewing storm. Look at that elaborate ruff—almost seems to be swallowing his face! Curator: Indeed, the textures are astonishing, especially when you consider this is all achieved through the precise cutting of lines into a metal plate. Think of the labor involved in creating such detail. Each tiny line a conscious decision... a controlled removal of material. Editor: Absolutely! And what *is* that stuff? He’s wearing yards and yards of fabric and lace…I mean, the *material* wealth practically shouts at you. All for show, I suppose? Curator: It signifies power and status, undeniably. Each element—from the royal regalia to the plumed helmet beside him—underscores Christian IV's authority as the King of Denmark and Norway. It's baroque, dramatic. Though I get a melancholy sense here... don’t you? He seems almost burdened. Editor: Hmm, burdened by the ruff, maybe! But seriously, all that finery has got to weigh something down, physically and metaphorically. Think about the global trade networks supporting all this consumption, the raw materials shipped across continents… Curator: It brings another layer. Though what I feel most is vulnerability peeking through all that armor and lace. His eyes, there is a humanity. Muller has captured something beyond just a ruler; there is a sense of a man beneath the crown. Editor: Maybe that's the art in it; beyond just documenting this guy's position. This wasn’t just any bloke getting etched, it was Christian IV. So, what, an engraving allows wider distribution and greater impact than an original painting would afford? This gets at notions of audience... and what a ruler WANTS them to see. Curator: That element of control. That gets across how strategically a printed portrait like this can be produced to affect public sentiments and how artists navigate that. Editor: Thinking about the labor in the creation is incredible, I keep imagining all of this having started with one block of metal and all the steps between then and the final print that got handed around in the 17th Century.