I. H. V. Møller 1859

Curator: The first thing that strikes me about this portrait is its air of gentle authority. It feels like encountering a friendly, yet discerning, historical figure. Editor: It really does. We're looking at a lithograph from 1859, "I. H. V. Møller," by Adolph Lønborg. It's a pretty standard Romantic era portrait, preserved by the SMK, the National Gallery of Denmark. What speaks to you about its symbols of authority? Curator: Well, it's in the details, isn't it? The impeccably tied bow tie, the confident, yet kind, eyes, that certain weightiness around the cheeks that screams 'substantial citizen'. You almost expect him to offer you a shrewd bit of financial advice. What symbols jump out at you, in this portrait? Editor: Beyond the bourgeois dress codes that you pointed out, I keep coming back to the way Lønborg has used light. It almost carves Møller out of the darkness. The chiaroscuro—the use of strong contrasts between light and dark—is typical of Romanticism, of course, and perhaps speaks to inner depths or turmoil lurking beneath the surface of respectable society? Curator: Oh, I like that idea! You have these hidden shadows clinging to the edge of the image. It whispers "secrets", perhaps. I am amused by how his slightly melancholic gaze could signify anything, ranging from repressed angst to, frankly, a touch of indigestion! I always enjoy finding a humorous detail. Editor: (chuckles) An important point about the power of portraits is that very ambiguity. To see that face rendered in tones of gray, brought to life from over a century and a half ago, makes you consider how portraits become icons over time. Each one of us could easily have several conflicting feelings based on this person's stare. Curator: Exactly, portraits can tell many stories! Looking at this one, you immediately think of success, position, importance… I am also appreciating the contrast between that somber gravitas of this very important person and his slightly mischievous eye. I wonder what Møller himself would have made of our opinions about his face? Editor: Maybe he’d think our own analyses reveal more about us than they do about him. A worthy warning! Curator: Indeed! And on that subtly philosophical note, it is time to move on.