Jellingehøjene 1867 - 1925

Curator: I find myself immediately drawn to the sheer somber quality of this engraving. The heaviness in the sky almost seems to suffocate the earthworks. Editor: I agree, it's evocative. This print, "Jellingehøjende," by Waldemar Bøhme, created sometime between 1867 and 1925, presents the Jelling Mounds. The piece is currently held here at the SMK, the National Gallery of Denmark. What social commentaries can we unpack from Bøhme's capture? Curator: These mounds are Bronze Age burial monuments in Denmark. Looking at this through a psychological lens, I find it powerful that he captures the tumuli just beyond a scattering of modest vegetation, the boundary between eras. What narratives about Danish identity might the artist be trying to weave? Editor: Right, but how might Bøhme’s personal positioning impact our understanding? As a privileged male artist during a period of increasing nationalism, to what extent does his depiction represent a romanticized view of Danish heritage versus an honest representation? Curator: An interesting consideration, and one worthy of pursuit! His rendering clearly borrows visual rhetoric. The heavy lines create an aura of monumentality that speaks directly to the ancient significance. It could reference power and the historical burden felt within emerging national identities of the period. Editor: Yes, or is it rather celebrating a Danish imperialistic endeavor? How are people othered, or omitted in the imagery itself? Curator: Fair. From my perspective, beyond the obvious formal qualities of line and landscape, I can’t help but find resonance with contemporary dialogues on land sovereignty, ownership, and power structures...even today. The stark rendering and clear intention behind this, a kind of preservation I think, still resonates deeply. Editor: True. Reflecting on Bøhme's print, I see how a seemingly simple landscape engraving invites a rich layering of narratives across identity, history, and political agendas. Curator: Precisely! A potent reminder that even historical artworks are in continuous conversation with present social dynamics.