Hyachinthos, Apollons yngling, Narcissus, hvilende ved bækken 1743 - 1809

Curator: Nicolai Abildgaard rendered this work, "Hyachinthos, Apollons yngling, Narcissus, hvilende ved bækken," sometime between 1743 and 1809. Look closely at the charcoal, watercolor, and possibly oil pastel on paper. Editor: A sepia-toned reverie. Immediately, a melancholic stillness settles over the scene. The soft textures, rendered in what looks like watercolor, gives everything an ephemeral quality. Curator: The composition is striking, isn't it? The figures and reflection bisect the pictorial space with a horizon that creates a compelling dialogue between surface and depth. See how Abildgaard balances the tonal values between the human forms, trees and reflection. Editor: The figures are what hold my attention. I see Narcissus there, but there's an echo of Hyacinth, Apollo’s beloved. I am captivated by the reflective pool; it's not just a physical feature but also a symbolic space where memory and longing meet. In mythology, reflections speak to deeper, often hidden, truths about ourselves. Curator: Yes, the mirror reflection is a pivotal structural element. The gaze isn't only toward a likeness but towards the subconscious. It challenges the very notion of a stable self. Furthermore, by casting these legendary youths by the brook, is Abildgaard asking us to reconsider our understanding of antiquity and its meaning for the present? Editor: Certainly. The tragic stories linked to Narcissus, Apollo and Hyacinth—pride, fatal accidents, unrequited affection—haunt every element of this work. Note the way Abildgaard hints at Hyacinth's presence even if he's not visually there. You almost feel the tragedy resonating outwards. It seems love is entwined with sorrow. Curator: This work's formal beauty provides access to contemplate mortality and existence. Editor: Abildgaard offers us a visual poem on beauty and loss.