Adelaide v. Hemert, Cornelius Høyers datter 1780 - 1844

Curator: This is Christian Horneman's portrait of Adelaide v. Hemert, Cornelius H Hoyersdatter. It dates from sometime between 1780 and 1844. Editor: It's immediately striking – almost dreamlike. The soft, almost ethereal quality, especially given the dark backdrop, makes it seem incredibly intimate. What's the medium? Curator: Horneman executed it in pencil on ivory. The use of ivory as a ground speaks to the portrait miniature tradition, and how its inherent preciousness affected how artists worked and how patrons consumed such artworks. Editor: Absolutely. The scale demands close looking, inviting a specific kind of engagement. Tell me more about the society from which she emerges, who commissions a pencil drawing on ivory, and why? Curator: Well, during this period portrait miniatures were intensely popular among the rising bourgeoisie as ways to assert themselves. They operated almost as calling cards, signaling status, sophistication and wealth. And in this case, to fashion an image out of precious materials becomes a signal itself. The drawing material itself invites a question about its labor, as the tool invites a mark making on surface, demanding attention. Editor: You're right, I do think about labor - the material's origin, who worked to get it, its purpose...but the pose, the soft focus—there's an interesting contrast at play. Was there a growing audience interested in collecting artworks like this outside the court? How does it navigate the visual languages of power? Curator: Absolutely, you see galleries and museums emerge, offering access and helping to create a wider culture of spectatorship beyond the aristocracy. Portraits themselves play a central role in shaping a shared visual culture. They can reinforce social norms. Horneman, positioning his patron to present a particular image to the world is navigating those subtle hierarchies. It's delicate and powerful at the same time. Editor: Fascinating. The drawing compels a sense of closeness. This analysis certainly adds depth. I feel like I’ve seen so much more than just an image on ivory. Curator: Precisely, understanding the intersection of art and production brings us a lot closer to this era's historical, socio-economic, and political environment.