Billenes Sankthansfest 1894

Editor: So, this is "Billenes Sankthansfest" from 1894 by Theodor Kittelsen, a watercolor. It's…peculiar, to say the least. The beetles are anthropomorphic and they’re dancing. It’s kind of eerie, actually, especially with those lights strung up above. What’s your take on this piece? Curator: It's undeniably peculiar! Kittelsen was very interested in Norwegian folklore, and how that could represent political sentiment. The beetles, grotesque and almost comical, participating in this Midsummer Night celebration… It certainly presents a loaded image. How might we interpret that juxtaposition of high holiday with, let's say, undesirable characters? Editor: I see what you mean! Are you saying he’s using the bugs as a metaphor for a social group, maybe one that wasn't welcome in traditional Norwegian society? Curator: Precisely! The public role of art at that time was often intertwined with nation-building, and constructing a specific idea of what it meant to be "Norwegian." By depicting these creatures, often associated with darkness or the uncanny, engaged in a national festivity, Kittelsen could be critiquing that very narrow definition. What about the visual elements - the medium itself, watercolour - does that have any societal implications at the time? Editor: Hmm, it's a seemingly delicate medium to use for such a…sharp statement. Was watercolor associated with amateurs or something considered "feminine"? Curator: Yes, that's a key insight. So by using this so-called weaker media, he elevates it to social and political expression. Editor: I hadn't thought about that at all. Now I see how this piece really challenges who gets to participate in national identity and what’s perceived as a serious artistic statement. It makes me wonder who or what is excluded. Curator: Absolutely! Art, you see, often serves as a battleground for negotiating cultural values. Thank you, now it made me think even more.