Studie af nedre del af en af vinduesrammerne på Molkes palæ, Dronningens Tværgade/Bredgade 1881

Curator: At first glance, this appears almost like a page from a notebook, the lines sketched quickly, almost haphazardly. Editor: Indeed. The apparent spontaneity conveys a delightful sense of intimacy and immediacy. It’s titled "Studie af nedre del af en af vinduesrammerne på Molkes palæ, Dronningens Tværgade/Bredgade" or, Study of the Lower Part of one of the Window Frames at Molke's Palace at Queen's Cross Street/Broad Street made by Niels Larsen Stevns in 1881. The composition is intriguing: the stark contrast between the sketch of what seems to be the face of a man in profile compared with the detailed decorative relief beneath the window gives the work its strong artistic energy. Curator: Moltke's Palace, you say? That was a hotbed of political power. The Palace was an epicenter of the cultural and social elites during the time it was produced. I am very curious as to what this quick rendering meant for Stevns and how it circulated to become part of SMK’s holdings. It certainly provides access into the lives of a certain societal class at this point in time, doesn't it? Editor: The details in that lower window frame truly ground the drawing; they bring in an element of naturalism. Yet I am struck by the sketch above; I am struck at how different it is in tonality and intent from that section beneath it. What does that juxtaposition say to the viewer? Curator: One can certainly see how the palace might symbolize Danish national identity and power dynamics. Artists were keenly aware of these symbols. It also prompts a conversation about art and its relationship to socio-political life in Copenhagen in the late 19th century. Editor: The drawing here functions as more than just a simple study; it offers a view into the formal elements, particularly Stevns' command of contrast and the overall expressive power of simple pencil work. I also feel it reveals the personality behind these palaces that might normally feel cold or untouchable. Curator: The artist is indeed engaging with visual politics of the day. Food for thought when we consider which imagery is created and displayed in public museums today. Editor: I walk away looking to find instances of artistic intervention or moments that disrupt, with the effect that both startles and informs.