Johan Christian Ryge 1813 - 1872

Curator: Welcome. We're standing before a portrait of Johan Christian Ryge, a woodcut made by Andreas Flinch sometime between 1813 and 1872. It’s part of the collection here at the SMK. Editor: There’s something rather severe in the subject’s expression, wouldn't you say? The dense, almost aggressively cross-hatched lines that define his face…it's all very intent. Curator: Flinch's technical mastery is quite evident. Observe the fineness of the lines, the precision in the delineation of form. The subtle gradations of tone, achieved through varying densities of the cross-hatching, create a remarkable sense of depth and volume. Editor: But look closely at the materiality! A woodcut means the image is painstakingly carved into wood, the negative space removed by laborers. This whole image feels almost mass produced even within its artistry and craftsmanship. This wasn't an elite craft! Curator: That framing certainly adds a layer of semiotic complexity. We see this academic adherence to convention framing his likeness with floral decoration, angelic imagery and text I imagine from period verse. Its line-based design does seem more illustrative and symbolic, less expressive of individual artistry than that which could be seen in painted portraiture of the time, in some ways leveling this figure to symbolism alone. Editor: A levelling, certainly in technique; in the way a printing process could be endlessly reproduced and distributed, connecting more workers and consumers to this singular image. Even its status of a print aligns with its creation - many, hands and tasks shape an aesthetic experience! Curator: It’s a powerful depiction that clearly encapsulates Ryge's character in graphic, yet affecting way, achieved by Flinch's astute technical aptitude within its rigid design Editor: Exactly, that speaks to how the mode of artistic labor impacts even the perceived authority of its final representation. Fascinating!