Maleren L.A. Ring 1912 - 1913

Editor: Here we have a bronze sculpture from 1912-1913 titled "Maleren L.A. Ring," currently residing at the SMK. It's a compelling portrait, almost melancholic in its expression. What strikes me most is the visible texture of the bronze; it looks almost like clay. What do you see in this piece? Curator: The bronze casting is definitely crucial here. Note the rough, almost unrefined base, contrasting with the smoother finish of the face and suit. I find myself questioning the intention behind that choice. Was this about making the means of artistic production more visible? About highlighting labor, the hand of the artist? Editor: So, you think the artist consciously made the process evident? Curator: Precisely! Traditional sculpture often tries to conceal the work involved. Here, the emphasis seems to be on the process itself, inviting us to consider the labor of the artist. And the material itself, bronze: historically valuable, yet here made raw, almost…industrial. Do you think that shifts the meaning for you at all? Editor: Definitely! It does seem to pull it away from just being a portrait of a man. I hadn't thought about the historical value of the materials themselves. Curator: And in 1912-1913, with industrialization booming, what might the connotations of "bronze" have been? Not just about wealth, but also about machinery and the modern world. Maybe even a challenge to established hierarchies within art, of painting being superior to other "crafts"? Editor: That’s fascinating. So it becomes less about celebrating the individual and more about interrogating the entire system of art production at the time? I never thought of that! Curator: Exactly. By looking at the materials and methods, we gain insight into the artist's intentions, but also into the societal values embedded in the art object itself.