Portret van Frederik III, koning van Denemarken en Noorwegen 1628 - 1670

Curator: This is a print of Frederik III, King of Denmark and Norway, created between 1628 and 1670. The artist is Pieter de Jode II, a master of engraving. Editor: What strikes me immediately is the intense formality, and almost claustrophobic detail. You can practically feel the weight of that fur stole he's sporting. Is "weight" the right word for it though? This looks more like metalwork to me. Curator: The engraving technique certainly lends itself to that perception. The medium itself – metal on metal – adds a layer to the viewing. We see the almost tactile density of the lines creating volume and texture, using contrast to signify the play of light on form. Consider also the symbolic order—the regalia placed carefully behind him—corroborating both the majesty and gravity of rule. Editor: That little elephant dangling from his neck feels...out of place, though. Is it some peculiar affectation, or an inside joke etched for eternity? Also that tiny crown! He seems slightly ill at ease under the pomp and circumstance. I’m just seeing all that formality. Curator: The elephant is the insignia of the Order of the Elephant, Denmark's oldest and most distinguished honor. Its placement signifies Frederik’s connection to that noble institution. Its smaller scale enhances the composition by not overwhelming the portrait, but functioning within its signifying scheme. Editor: Well, you see one system there, I can see his face looking anything between ‘uncomfortable’ to slightly melancholic, perhaps he thought they captured him a bit serious than he really was, perhaps, he didn't want all this pomp? Curator: Perhaps the aim wasn't veracity but a performance of majesty? The purpose of portraiture in those times tended towards idealized representations meant to project authority and status. Editor: Maybe. The detail pulls you in; there's an almost hypnotic quality. I feel like I can discern a complete, complicated story beneath that regal façade, that is hidden between its metallic lines. Curator: A good observation. The strength lies precisely in how Pieter de Jode the Younger manipulated those lines to invite endless interpretation, even in so formal a context. Editor: Indeed, a study on the performative aspect of power… etched in metal.