Efterår 1821 - 1824

Editor: Oluf Olufsen Bagge's "Efterår," or "Autumn," an engraving made between 1821 and 1824, is rendered in this stunning old style. There's something melancholic about the figure; what stands out to you? Curator: This work is dripping with socio-political context when we situate it in its time! Think of the early 19th century – the rise of nationalism, the Napoleonic wars not long past. This wasn't just an image of "autumn," but a symbol of national identity, often drawing from classical antiquity, attempting to build a lineage. What do you notice about the figure's attributes? The grapes, the cup… what could those symbolize? Editor: Well, the grapes and the overflowing cup could be about abundance or plenty? A bountiful harvest, maybe. Curator: Precisely. And how might ideas about 'plenty' be political? Think about who controls resources, who has access. Neoclassicism was about idealized forms, yes, but it was also often leveraged by those in power to project ideas about themselves: rationality, order, and, of course, legitimacy. Isn't it curious that “Autumn” is portrayed as a youthful Bacchus? How does it enforce class separation when “common people” could not be seen as this “ideal”? Editor: That definitely shifts my perspective. I was so focused on the aesthetic that I missed those underlying power dynamics! I see that there is something dark about depicting seasons as only white/European coded bodies, when harvest is truly an international, global phenomena! Curator: Exactly! Now you’re situating Bagge's work into broader intersectional narratives. Thinking about the connection to identity and politics is really enriching our understanding here. What will you take away from our analysis today? Editor: I am truly grateful for being able to have these open dialogues. As an emerging art historian, it is empowering to challenge these artworks using various critical lenses and see that art is a powerful platform that influences beyond beauty!