Christian IV 1859 - 1860

Curator: Here we have Bernhard Olsen's print, "Christian IV", completed sometime between 1859 and 1860. It’s currently held here at the SMK, Statens Museum for Kunst. What's your initial reaction? Editor: Intriguing. It feels almost like a caricature, though the realism is undeniable. There's a peculiar mix of grandeur and, dare I say, vulnerability in his expression. The weight of the crown, perhaps? Or maybe it’s just those enormous cavalier boots making him look a little off balance! Curator: He’s certainly got a presence! Olsen, working in the mid-19th century, was contributing to a broader artistic and political moment. The image of Christian IV, a beloved Danish king, was being deployed to shore up national identity amidst various social and political upheavals. It’s history-painting functioning as propaganda, essentially. Editor: Ah, so this isn't just a portrait; it's a statement. And a very carefully constructed one at that! It seems rather straightforward at first glance, but then you consider that this isn't a painting, but an engraving—which invites mass distribution and interpretation. He seems almost folksy, a far cry from the absolute monarchs ruling by divine right, it seems to me. I’m not sure that such accessible representations would have survived earlier periods? Curator: Precisely. Engravings made images much more accessible and democratic. Olsen’s choice of realism situates Christian IV within a contemporary framework, rendering him relatable to the Danish populace, albeit with an almost humorous tilt. He’s simultaneously royal and...everyman. Editor: You're right. It makes one wonder how audiences responded. I'd imagine he was a more approachable king than depictions of many monarchs. What does his regalia actually convey in this more grounded form? It's a really fascinating commentary on the projection of power. Even the finest lace doesn’t hide the fact he might trip in those boots! Curator: Exactly. The playful yet respectful rendering would likely have struck a chord with a populace experiencing shifting social and political landscapes. In the grand theatre of statecraft, you occasionally need a friendly face on the throne, so to speak. It shows that art could be a subtle form of nation-building. Editor: An image intended to solidify cultural bonds through, surprisingly, levity. What a paradox! Curator: Indeed! A portrait to be taken seriously, but with a wink. It gets at the clever and unexpected places political power comes from, both now and then. Editor: Thank you for bringing that to life; now I can imagine those boots actually walking the Danish streets!