Udkast til maleriet i Chr. IV's kapel i Roskilde "Chr. 4. på Trefoldigheden" 1860

Editor: This is a drawing in ink by Wilhelm Marstrand, dating back to 1860. It's titled "Draft for the painting in Chr. IV's Chapel in Roskilde 'Chr. 4. on the Trinity.'" The mood feels very active, lots of different characters, seemingly on a ship. What can you tell me about this work? Curator: Well, let's consider the drawing as a record of labor. Marstrand, as a Romanticist, engages with historical narratives. But before we get to the grand chapel painting, look at this preparatory sketch. It lays bare the artist’s process. What materials did he use and how does the drawing's sketchiness reflect a particular stage of production? Editor: It looks like pen and ink on paper – not expensive materials. It’s really quite simple, almost like a blueprint. The sketchiness definitely implies this wasn't the final product. Curator: Exactly! Think about the labor involved. Not just Marstrand's, but the unseen labor supporting his practice—preparing the ink, sourcing the paper. Moreover, consider the social context of Romanticism. The market demand for history painting influenced Marstrand’s production. Editor: So, this drawing provides a glimpse into the means of production, before it gets turned into something "high art" Curator: Precisely. This drawing exposes the materiality and labor beneath the polished surface of the intended final artwork. It almost democratizes art. How does viewing art with attention to production, labor, and consumption reshape our appreciation? Editor: That’s interesting, I never really thought about a piece of art in terms of the materials and processes. It really puts the ‘work’ in artwork. I’ll never look at drawings the same way again! Curator: Wonderful! It also shows that every sketch contains the seed for cultural production.