Olaf Poulsen som Henrik 1901

Curator: Let’s take a look at “Olaf Poulsen som Henrik,” an etching created by Heinrich Dohm in 1901. This print, housed here at the SMK, offers a compelling glimpse into theatrical portraiture of the era. Editor: My initial reaction is intrigue mixed with a touch of amusement. There’s something inherently mischievous in his pose – the finger to his lips, the knowing glance. It feels almost like we’re being let in on a secret. Curator: The artwork depicts Olaf Poulsen, a well-known actor, in character as Henrik. Dohm has chosen to capture him mid-performance, it seems. This work exemplifies the artistic fascination with actors and their roles in society, during this time. There’s a certain performance of masculinity and social class on display, right? Editor: Absolutely. And considering Poulsen's status, the image hints at power dynamics and visibility. Who gets to be portrayed, and how? The fact that it’s an etching is also telling. Prints democratized art, making images like these accessible to a wider audience, impacting how perceptions are shared on theatrical culture. Curator: The etching technique itself also lends a certain mood, doesn’t it? It gives an aged feeling to the work, perhaps suggestive of nostalgia surrounding stage actors and the culture surrounding playhouses at that time. The work really is an exemplary work of the era’s visual style. Editor: True, the choice of material and reproduction contributes. Looking closer at how he's portrayed – his clothes, almost comically aristocratic, the exaggerated posture – I wonder what commentary the artist makes about societal performance. What power does theatre, performance, have in challenging social convention? Curator: It's clear this isn’t just about capturing a likeness but about capturing a performance, a role, an entire cultural phenomenon. Editor: Reflecting on Dohm's creation, I find myself contemplating how stagecraft and artistic representation shape our understanding of identity. It reminds me that representation has power in that moment and in retrospect. Curator: For me, I am reminded that portraiture is always about conveying some kind of socio-political messaging through form.