Dronning Semiramis som sværger ikke at ville rede sit hår før hun har underkuet et oprør 1757 - 1759

Curator: Peder Als painted this scene, "Dronning Semiramis som sværger ikke at ville rede sit hår før hun har underkuet et oprør," sometime between 1757 and 1759. The piece employs oil paints and currently resides here at the SMK. Editor: It’s… stark. Heroic, yet undeniably stark. The resolute set of her jaw—the details, such as the ladies in waiting—almost appear secondary. There's a quiet drama at play here, isn’t there? Curator: Quiet indeed! Als offers us a peek into Semiramis' legendary status. This is a potent political image—depicting her leadership—her very image—as dedicated and unwavering. It mirrors similar tropes that celebrated enlightened monarchs and a ruler's devotion to the state, typical of art supported by royal institutions in this era. Editor: Right, like the anti-vanity stance as a sign of dedication. Instead of pearls and braids, she chooses strategic meetings and battle plans. Though her presentation may still matter... Curator: Presentation ALWAYS matters! Baroque portraiture, generally, serves a purpose. Her likeness is as much a tool of statecraft as her armies are. The very act of capturing her image in paint is designed to impress power. Editor: And she uses that power. I like that the most intimate of activities—her toilette, becomes a battleground here, not unlike how daily rituals can be imbued with such force and emotion in our own lives. I wonder what Semiramis might make of it all, peering down from wherever queens go after their empires fade? Curator: One wonders! Art like this always gives us more to contemplate about the role of those in power and what that means for those over whom they rule, wouldn't you agree? Editor: Absolutely! And that’s not nothing—a window onto the complex negotiation between duty and desire that continues to resonate.