Udkast til vægdekoration med halvrunde felter over to døre, på blå vægge 1743 - 1809

Editor: So, this is "Udkast til vægdekoration med halvrunde felter over to døre, på blå vægge," or, “Draft for wall decoration with semi-circular fields over two doors, on blue walls” by Nicolai Abildgaard, likely made between 1743 and 1809. It’s a watercolor drawing, and honestly, it feels both formal and a bit whimsical to me. What strikes you when you look at it? Curator: You know, that little dance between the formal and the unexpected is exactly where Abildgaard lives, doesn't he? For me, it's the sheer audacity of putting those birds—are they guinea fowl? —perched above such rigid, neoclassical doorways. It’s as if he’s whispering, “Even in the grandest of designs, nature—or perhaps just plain silliness—finds a way in.” Does that make you rethink the initial formality? Editor: Absolutely! I was so focused on the architectural elements, the symmetry, but now I can’t unsee those slightly comical birds. It makes it feel less…stuffy. I wonder why he chose those specific animals. Curator: Now that’s a delicious question! Maybe it was about bringing an element of the exotic, given their African origins, into a very controlled, European aesthetic. Or perhaps, he just thought they looked fabulous up there! Which interpretation feels truer to you? Sometimes, the 'why' isn't as important as the 'what if' – what if those birds are there just to make us smile? Editor: I think I prefer the smiling version. It definitely changes how I perceive the entire composition. The birds give character and even a feeling of levity. Curator: Exactly! Art isn’t about decoding a single, correct answer. It's about opening up possibilities and appreciating the conversations that spring up in the space between intention and interpretation. And maybe a cheeky guinea fowl or two.