Elna Tegner c. 1927

Editor: So this is Gerda Wegener’s “Elna Tegner,” from around 1927. It's a coloured pencil drawing on paper. There's a real sense of confidence and subtle amusement in her expression. What's your take on this portrait? Curator: Wegener's portraits offer us such fascinating insights into the social and artistic circles of her time. Think about Paris in the 1920s. It was a hub of cultural and sexual liberation. Wegener, especially through her relationship with Lili Elbe, engaged directly with questions of identity. How might this social context shape how we see this woman, Elna Tegner? Editor: I guess knowing that Wegener also explored gender identity makes me look at this portrait differently. There's an almost performative aspect to the subject’s femininity that I hadn't picked up on immediately. Curator: Exactly! It's a representation, a construction. The Art Nouveau influence is evident, with its emphasis on stylized beauty. But consider also the male gaze, especially within portraiture throughout art history. How do you see Wegener negotiating this tradition, given her own experiences and perspective? Editor: Hmm. Perhaps Wegener’s imbuing the subject with a confident gaze reverses the power dynamic usually at play? Curator: Precisely. And what about the subtle details – the suggestive smile, the tilt of the head? These could be interpreted as a reclaiming of agency within the traditional portrait format, no? This portrait becomes part of a much broader dialogue about identity and representation, a visual discourse. Editor: I see. I originally saw this as just a pretty portrait, but there's much more going on when you consider the social and artistic context. Curator: Absolutely! It’s always more rewarding to see art in conversation with the world it came from. I will certainly approach other portraits of this period with different eyes from now on.