En Lysekrone 1762

Curator: Standing before us is “En Lysekrone,” or “A Chandelier,” a drawing, print, and engraving rendered in ink on paper by W.A. Müller, dating back to 1762. Editor: My initial feeling is one of extreme opulence; almost dizzying with its excessive ornamentation. You can practically hear the clinking of crystal. Curator: Indeed. Müller’s meticulous linework showcases the intricate Baroque design, placing emphasis on symmetry and the play of light across its multifaceted surfaces. Observe how the repeated motifs create a sense of rhythmic visual harmony. The crowns topping the chandelier signify regal luxury, echoing the upper class tastes of the period. Editor: Luxury built on exploitation and maintained through rigid hierarchies. A chandelier, more than just a source of light, becomes a potent symbol of power, illuminating spaces controlled by the elite while casting shadows on the impoverished masses who toiled to create and maintain such grandeur. It seems relevant to note this piece is housed in the Statens Museum for Kunst. What narratives do such institutions reproduce by maintaining possession of relics connected to the wealthy class? Curator: I understand your concern, but the artist is presenting a masterfully designed object. Notice how Müller uses shadow and line to articulate its form, to describe how it takes shape. The texture of glass is there, too. I argue it's more important to explore how successfully the piece emulates realism through depth and imitation of material. Editor: To divorce the object from its context, however, is to miss crucial insights. These objects embody not only aesthetic choices, but the very real implications that those choices made on a stratified society. Curator: I suppose both arguments, like light from each arm of the chandelier, allow for broader appreciation of it and others. Editor: Precisely. Approaching these artifacts with a dual consciousness helps make the stories we tell far richer.