Per Degn falder i rædsel på knæ for fogeden 1770 - 1772

Curator: Today we are examining "Per Degn falder i rædsel på knæ for fogeden," an engraving crafted by J.F. Clemens between 1770 and 1772. Editor: Immediately, the stark contrast grabs my attention. It’s a very theatrical composition. A dynamic clash between dark and light. It speaks to a story being dramatically unfurled. Curator: Indeed. Clemens masterfully employs chiaroscuro, that technique of strong contrasts between light and dark, to emphasize the figures’ emotional states and to build spatial depth within the scene. Note the fogeden, looming large, arm raised with whip. His turban suggests exoticism. What do you make of this? Editor: The turban…it's more than just exoticism. It could symbolize perceived cultural or religious differences weaponized to assert dominance. And the whip – undoubtedly a symbol of authority and the physical manifestation of power in the period. Per Degn kneels, his hands clasped in supplication, head turned upward—these classic poses telegraph fear and desperate pleading. His vulnerability becomes pronounced. The tipped-over jar spewing its contents becomes very prominent too; clearly, something of material or spiritual value has just been desecrated. Curator: Yes, the toppled vessel certainly underscores the scene's disruption and loss. From a formalist point of view, observe the parallel lines in the curtain and the floorboards, the repetition in their forms constructing a patterned framework for the tumultuous drama. Also note the arrangement of items on the shelf on the upper left – bottles, towels or clothing… These simple lines offer depth. How the etching balances complex visual activity in foreground against background emptiness creates focal tension. Editor: Fascinating how such precision in rendering architectural details anchors the almost cartoonish emotional expressiveness of the figures. What are we to make of Per Degn's expression—utter fear? And I also detect anger within the imposing figure’s eyes as he raises his whip. He doesn’t just seek obedience but appears to enjoy dominating the man begging for mercy. Curator: Quite possibly. Clemens seems less interested in simple representation, or any idealized form of moralizing, but seems interested instead in capturing that specific instant – one ripe with anxiety. Editor: An etching of considerable resonance, the piece evokes historical power dynamics and enduring human dramas playing out symbolically in our cultures. I'm struck by its capacity to spark these rich discussions. Curator: Indeed, a compelling work allowing engagement in discourse over historical injustice that continues to demand conversation.