Frederik III 1655 - 1659

Editor: We’re looking at “Frederik III,” an engraving made sometime between 1655 and 1659 by Albert Haelwegh. It’s a portrait, of course, but what strikes me is the weight of the armour against the softness of his hair. How do you interpret that contrast? Curator: It's interesting, isn't it? Think of the portrait as theater. Haelwegh’s subject is literally playing the part of the strong and capable leader: steel armor for protection, long flowing locks signifying wealth and status. But the man underneath? That’s for us to imagine. He almost seems aware of the performance, wouldn't you say? Editor: You’re right, there's a sense of self-awareness in his eyes, perhaps even a touch of melancholy. And what about that Order of the Elephant medal? Curator: Oh, the elephant! Denmark’s highest order. A symbol of strength, wisdom, and temperance, everything a good ruler should be. Although, ironically, Frederick III wasn’t particularly known for his temperance. History paints him as a shrewd politician, willing to bend the rules to consolidate power. So, does the elephant tell the whole story? I wonder. Editor: So the portrait presents an ideal versus reality? Almost like propaganda? Curator: Exactly! Art serving power, or at least attempting to. That tension, that gap between image and reality, is what makes portraits like this so fascinating to me. Editor: I never considered the art as separate from the reality of the ruler. This really sheds a new light on historical portraits for me! Curator: I agree, viewing a portrait not just as representation, but as a conversation, I hope can offer many future students something interesting to investigate.