Frederica Bolette Lindencrone 1800

Editor: We're looking at "Frederica Bolette Lindencrone," a bronze sculpture made around 1800 by Giovanni Domenico Gianelli. What strikes me most is the calm, almost severe, expression on her face. It’s a very composed portrait. What do you see when you look at this piece? Curator: Severe, perhaps, but also…knowing? I see a woman presented with incredible control, fitting into that Neoclassical fascination with idealized forms, harking back to Greek and Roman sculpture. But she also feels very present, doesn’t she? Almost as if she might offer you some quiet, sly commentary. Editor: She does! I see what you mean. I hadn't thought about her as potentially sly, but now that you say it, her eyes seem to hold a secret. Do you think the artist was trying to convey a particular social status or role through her image? Curator: Absolutely. Think about the context. This is the late 18th century, on the cusp of major social upheaval. The elite classes were very interested in preserving their legacy. This sculpture immortalizes Frederica within those ideals: beauty, serenity, and composure became badges of honor, symbols of status. Note the classicizing drapery as well – it adds to the sense of timelessness. Is she someone specific or a type? Editor: It’s interesting how the classical references seem to elevate her, making her more than just a woman. More like an ideal. Curator: Exactly! And yet, look closely at the curls of her hair, the subtle folds in her gown. There's an individuality there, a humanness, that keeps it from becoming cold and academic. What did you think of bronze as a medium for portraiture? Editor: It lends it such a timelessness. I learned something new about that period through bronze sculpture. Curator: Me too! Sometimes, it is through constraints that new creativity is possible.