Professor Daniel Jacobson 1909

Curator: Edvard Munch’s portrait of "Professor Daniel Jacobson," painted in 1909 using oil on canvas, presents a compelling figure against a backdrop of earthy hues. Editor: It's funny; I see this and immediately feel like I know this man. Not personally, but there's such an immediate impression of solidity... stubbornness, perhaps? The colours give it this almost volcanic undercurrent. Curator: Interesting, yes. Munch was clearly concerned with capturing more than just a likeness. The visible brushstrokes speak volumes, don't they? Notice how the background isn’t just background, it’s almost vibrating. There's this tension between capturing a distinguished professor and perhaps hinting at inner turmoil or anxiety. The materiality of paint serves Munch’s goal here, a deliberate disruption. Editor: Right? It's like the very brushstrokes are alive, wrestling with something unspoken. It's as if he is trying to wrestle with himself to portray this "famous man". The positioning, his hands on his hips—definitely confident, yet the eyes hint at something else. Maybe discomfort? Curator: Exactly. Consider, also, that Munch made his living selling artworks to a burgeoning middle class with money. Portraiture, especially of accomplished people such as Jacobson, would be a reliable source of income. There is labor and capital behind what we are seeing. But even still Munch seems to always, and thankfully, resist simple categorisation. Editor: It definitely dances between flattery and discomfort. There's a looseness, a raw expressiveness, but also a tangible skill and intent. He clearly had a goal. The suit seems very put together, and this brings so much formality to the scene, although at the same time it gets kind of offset by his very expressive brushstrokes in the background that almost brings the focus away from the person that should be at the centre of our attention. Curator: I find it interesting to contemplate the original setting, where wealthy benefactors might have observed this very piece on display within their community and homes. It offered them a certain validation to commission pieces. Editor: Makes me wonder what Professor Jacobson thought about the final result. Did he recognise himself, his status...his anxieties? That to me is part of what makes it captivating. Curator: It’s true; the emotional resonance layered within and the subtle challenge to social formality definitely invite endless discussion. Editor: Yes! Now I see so much more after dissecting this character with you. Thanks.