Kong Svibdag 1646

Curator: Here we have an engraving dating from 1646, portraying Kong Svibdag. While attributed to an anonymous artist, it offers us a glimpse into the visualisation of power during that era, intertwining historical and social dynamics within the depiction of this regal figure. Editor: Well, right off the bat, it strikes me as somber. The lines are so sharp, almost biting. The king's got this "weight of the world" look, doesn't he? You can almost feel the pressure on his brow just looking at it. Curator: Indeed. And we must understand that such portraits weren't just about individual likeness; they were constructed narratives of leadership and lineage. The crown, the staff with the fleur-de-lis, these are symbols employed to assert authority and legitimacy. Furthermore, this print appears at a fascinating intersection of the medieval and Baroque aesthetics. Editor: The fleur-de-lis gives a sort of strange juxtaposition in context with what seems to be a vaguely Viking era king of Denmark, Norway and Sweden. You nailed it there... constructed narrative. And that gaze... it's definitely calculated, though somehow…sad? Is that weird? Maybe I'm projecting, but this is before photography! Someone thought it would look grand to show their monarch in this mood! Curator: It’s a potent observation. We could unpack this apparent sadness in light of early modern constructions of masculinity and rulership. There's an expectation of stoicism, yes, but also an acknowledgment—perhaps even a valorisation—of burden. And consider the limitations of engraving at the time: those stark lines, that meticulous detail, conveying nuance would have been a calculated act. Editor: Exactly! Like a controlled melancholy, perfect for sealing treaties or rallying troops with a "woe is me" speech... Maybe it’s a reflection of the engraver too, anonymous as they are! I mean, there's dedication etched (pun intended) into every single stroke. Someone wasn't just churning this out. They put soul into it! Curator: Precisely! The tension lies in the space between intention and reception. The engraver, consciously or not, infuses their perspective. We, centuries later, filter that perspective through our own contemporary lens. By engaging with these layers, we gain a richer understanding of the work and ourselves. Editor: It kind of makes me think about how we choose to present ourselves even today, the stories we want to tell. I may just go take a more careful selfie now. Thanks, King! Curator: That connection between the 17th century portrait and our contemporary practices, underscores the enduring human need to project an image. Whether we realize it or not, each portrait tells a complex narrative, ready to be decoded.