Peer Gynt In the Hall of the Mountain King 1890

Editor: So, here we have Theodor Kittelsen's "Peer Gynt in the Hall of the Mountain King" from 1890, a watercolor painting. It feels like a scene plucked straight from a nightmare, or perhaps a very vivid, slightly unsettling dream. What strikes you when you look at it? Curator: It’s interesting how Kittelsen visualizes the hidden anxieties within folklore. Look at the concentration of grotesque faces surrounding Peer. Each represents a different fear, a societal taboo, or perhaps even suppressed desires. The trolls are not merely monsters; they're embodiments of what lurks in the shadows of the human psyche. Editor: That's a great point, there are many figures lurking there. Could it also be linked to Norwegian cultural identity at the time? Curator: Precisely. During the late 19th century, Norway was rediscovering its cultural roots, and folklore played a huge role. Kittelsen's trolls tap into ancient Norse myths and legends, connecting the present to a past filled with both wonder and dread. The Hall of the Mountain King itself becomes a stage for exploring the darker aspects of national identity, maybe anxieties about isolation, harsh landscapes, and hidden creatures. Editor: And Peer himself seems almost passive amidst the chaos. Curator: Yes, his blank expression highlights the theme of individual versus the collective unconscious. He is an outsider trapped within a world of repressed impulses and societal fears, all embodied by the trolls. He represents the struggle to define oneself against powerful, primal forces. It is almost an existential angst portrayed as fantasy. Editor: It gives the piece so much more depth when thinking of it that way. Curator: Indeed, Kittelsen gives tangible form to intangible cultural memories, forcing us to confront those primal anxieties in a strangely beautiful way. Editor: Thank you, I've learned a lot by exploring the cultural symbols! Curator: You are very welcome! It is always fruitful to let our unconscious respond.