Oberst F.J. d´Origny 1839

Editor: Here we have David Monies' "Oberst F.J. d'Origny," a lithograph from 1839 currently housed at the SMK. The detail is quite remarkable, and his stern look really pierces through time. What strikes you most about this portrait? Curator: Oh, that piercing gaze gets me every time! What I see is a moment of transition. This isn't just a portrait of a military man; it’s a study of societal expectation. Lithography, in its nascent stage then, offered a unique form of accessible artistry, allowing likenesses, like that of Oberst d’Origny, to permeate further than aristocratic oil paintings allowed. Do you notice the almost caricaturist quality to his posture? Editor: Yes! Now that you mention it, it’s almost like a gentle poking fun, or maybe, a wink to those "in the know?" Is that common in portraits from this era? Curator: In some circles, definitely. Think of it as visual shorthand – a shared joke among the elite, or perhaps Monies making his own quiet commentary. The weight of expectation on his shoulders—look at those epaulettes! But it's also balanced by a softness around the eyes, that maybe hint at vulnerability beyond the rigid uniform. What do *you* make of the details in the uniform? All of those embellishments – pure aesthetic choice? Editor: Good question! I'd assumed they were more of a symbol of rank and status… But now I'm seeing the contrast—the uniform feels almost performative, while the face hints at something more human. I'll definitely be rethinking portraiture from now on. Curator: Isn't it wonderful how a single image can hold so many layers? To consider art from the stance of a story-teller means all of a sudden anything is possible! Thank you for sharing this little artful moment.