Dronning Sophie Amalie 1663

Curator: Here we have a print dating back to 1663: it's a baroque engraving titled "Dronning Sophie Amalie" and it was created by Albert Haelwegh. Editor: There's something unsettling about her expression. It feels both regal and strangely vulnerable, which is further complicated by the framing wreath – is that supposed to soften the blow? Curator: Note the textures rendered through meticulously placed lines: the fur trim on her cloak, the delicate ruffles of the ribbons, and then those tightly coiled ringlets of her hair. Haelwegh uses line weight and density to create the illusion of depth on a flat surface. Editor: And yet it also flattens her. She is rigidly contained in this idealized form, disconnected from the political and social complexities facing women – especially queens – in 17th-century Denmark. Her identity is simplified and molded to uphold existing power structures. This doesn’t offer insight; it functions as royal propaganda. Curator: Propaganda perhaps, but it’s also skillful employment of the baroque style—a style characterized by grandeur and dramatic flourish. Consider how the oval frame draws the viewer's eye to Sophie Amalie’s face, that becomes the focal point of the composition. The symmetry and formal qualities are noteworthy. Editor: Symmetry and formality don't exist in a vacuum. How can we ignore that her dress and ornate surroundings would have signaled considerable wealth and privilege at a time of immense social disparity? Look closely and there's the ghost of mourning in her dark dress and pearl adornments: do we take her grief into consideration when interpreting her carefully-managed depiction? Curator: I appreciate your interest in its layered significance. My interest lies more in dissecting the image’s aesthetic success through formal means. Editor: And my interest is in revealing the embedded historical messages within. It would be great to learn about how the work speaks to women in positions of power today.