Søjle i Nordmandsdalen 1773

Editor: This is "Søjle i Nordmandsdalen," a print from 1773 by Andreas Heckel. The composition feels very formal, almost like a technical drawing of an architectural element. What do you see in this piece beyond its obvious structural depiction? Curator: I see more than just a structural study. Consider the social context in which this print was produced. Neoclassicism was in vogue, drawing inspiration from ancient Greece and Rome. This wasn't merely an aesthetic choice; it reflected Enlightenment ideals of order, reason, and civic virtue. Do you notice how this "Søjle" evokes monumentality, despite being presented on a modest printed sheet? Editor: Yes, I see the connection. So, the choice to represent it as a print allows it to be more widely distributed. What does that mean in terms of power structures? Curator: Precisely. Prints democratized imagery. Consider who could afford original sculptures or grand architectural projects versus who could purchase a print. This image circulates an idea – a visually-powerful representation of an ideal society. The inclusion of such a "civilizing" element, even within what was then considered a wild, "uncivilized" landscape – "Nordmandsdalen," translates to "Norsemen's Valley" – speaks to the era's project to categorize and thus control their known world. Editor: It’s interesting to think about the role of art not just as something beautiful but as a tool for social engineering, in a way. I had initially considered this "dry," but that social function of the monument displayed as a print opens up another way of thinking about it. Curator: Absolutely. And remember, the very act of creating, displaying, and preserving such works, especially within institutions like the Statens Museum for Kunst, solidifies certain narratives and power structures.