F.E. Winning 1851

Curator: Before us we have “F.E. Winning”, a lithograph print dating from 1851. The piece, by Emil Ditlev Bærentzen, is now part of the collection here at the SMK. Editor: It’s such a serious face. There's something very austere about him. It gives the sense of great determination and, I don’t know… self-importance, perhaps? A feeling of contained power radiates from it. Curator: Exactly. Bærentzen worked primarily as a lithographer during Denmark’s Golden Age, a time rife with nationalism, which elevated certain figures to near-mythical status. Producing prints like this made such figures accessible to a wider audience, which cemented and bolstered their positions. Editor: I see what you mean. The meticulous detailing must have been intended to project authority, something which served a clear societal function in the 19th century, but also a great deal about the man. The precision creates a veneer, a sense of who he wanted others to see, and indeed what status the print was giving the man. It hides so much by its need to be perfect. Curator: And prints, being more affordable than paintings, had a crucial role in shaping public perception, circulating images that helped form collective identities. The distribution methods would be a study in and of themselves. This one ended up in the Royal Collection, I would guess. Editor: It's interesting how the technique itself feels almost like an act of veneration, making him eternal, you know? Preserving an exact likeness so many years on. There is, on second look, though, a tiny hint of melancholy in his eyes. Curator: I agree; lithography could capture an incredible likeness, yes. The Golden Age wanted heroes, and the printing press could provide! In our perspective of history and portraiture it offers many insights into contemporary visual culture. Editor: It speaks volumes about how societies manufacture and consume their heroes, a cycle of projection we seem doomed to repeat! Curator: Well put. It really provides something to consider regarding those images we consume daily. Editor: It truly does. And, beyond the political implications, I also love the man's rather splendid coat. A good coat can't be underestimated in a good portrait.