Kriemhild, in Mourning over Siegfried, Handing Out Treasures from the Nibelungen Hoard 1854

Editor: This is Eduard Bendemann's "Kriemhild, in Mourning over Siegfried, Handing Out Treasures from the Nibelungen Hoard," created in 1854, using pencil and charcoal. It strikes me as very somber and still, despite all the figures present. What’s your interpretation of this work? Curator: Bendemann's piece allows us to explore themes of power, grief, and wealth distribution within a historical and social context. Kriemhild's act of handing out treasure can be seen not just as an act of mourning, but also as a political maneuver. Who benefits from this redistribution, and what societal impact does it have in this historical drama of the Nibelungenlied? Editor: I see…so it’s not just about her personal grief but the potential shifting of power dynamics. Does her gender play a role? Curator: Absolutely. As a woman in a patriarchal society, Kriemhild’s access to power is mediated through her relationships to men – first as Siegfried's wife, then as a widow. Distributing the hoard could be interpreted as a means of exerting agency in a world where her options are limited. Is she reclaiming some of her lost power through material means? Editor: That makes a lot of sense. I hadn't thought about it that way. The act seems almost defiant now, not just sorrowful. Curator: Exactly! This artwork gives space to consider how historical narratives reflect and reinforce social inequalities. Thinking about wealth, gender, and agency allows us to really interrogate these historical representations. How do you feel examining this romanticised composition now? Editor: I am starting to think that even romantic pieces can be laced with social commentary, but it takes a deeper reading to find it. Thanks for making me consider different angles. Curator: Precisely. Art offers an arena where we are asked to consider critical questions about society. And remember, those questions change as society evolves too.