Figurehead c. 1936

Curator: Good morning. Today we’ll be discussing Ingrid Selmer-Larsen's “Figurehead,” a watercolor drawing created around 1936. Editor: Well, my immediate impression is of a certain... carved rigidity, like the man has been turned to oak. The artist achieved such a defined sense of volume in the figure with what seems like an economy of detail and color. It also reads like a humorous rendering of a pompous man of the era, likely political given his dress. Curator: Indeed. Beyond the illusion of depth that Selmer-Larsen so skillfully creates, let's focus on the sartorial elements: the meticulously rendered double-breasted jacket, the severe knot of the cravat, that singular medal centered just above the lapel, along with his stern expression—each seems to codify the era's strictures. What narratives do these sartorial signifiers trigger for you? Editor: Well, the ensemble gives him a decidedly masculine, almost patriarchal aura, aligning with the era's notions of male dominance. That stern, fixed gaze signifies resolve, and it's interesting that it is coupled with rosy cheeks, creating an odd tension between severity and, dare I say, a subtle softness, which can almost make you wonder if he's slightly embarrassed, almost comical in the rendering. I find it an unexpectedly complex presentation. Curator: Intriguing—it raises a fascinating point regarding the interplay between the visual and the implied emotional register of a portrait. His stiff formality, coupled with that blush, as you pointed out, invites a consideration of the contradictions of masculine performance in the mid-20th century, and one might venture to speculate what societal role model or personality they wanted him to represent, particularly for the nautical theme suggested in the title, “Figurehead.” Editor: Ultimately, I feel it succeeds in its aims as a psychological portrait beyond the superficial markers of rank and power. It is about that rigidity in the face of historical tension. Curator: Quite. It leaves you reflecting on the visual language of the time. Editor: A small but powerful statement.