Jørgen Hauerberg 1767 - 1824

Curator: Here we have Andreas Flint’s portrait of Jørgen Hauerberg, dating to sometime between 1767 and 1824. The work, residing here at the SMK, is an engraving. Quite a compelling neoclassical profile, wouldn’t you agree? Editor: Immediately striking—the restrained, almost severe profile creates an air of cool detachment, doesn't it? That meticulously engraved line seems to emphasize the contours of his face, creating a sort of stoic mask. Curator: Precisely! The artist’s dedication to line is paramount; the shading is minimal, but the strategic use of hatching gives the face depth and dimensionality, reinforcing that neoclassical focus on idealized form. It's almost mathematical in its precision. Editor: Yes, that almost clinical rendering brings to mind the ideals of the Enlightenment: Reason, Order, and Control. A far cry from the baroque excesses of the past. And isn’t it interesting how the earring provides a subtle break in all that rigid formality? Curator: An excellent observation. The circular form of the earring almost echoes the circular frame around Hauerberg's profile. In the broader symbolic lexicon, circular imagery indicates themes such as unity and perfection. So it could reference an expectation that the individual should aim for harmonious social cohesion. Editor: Perhaps it’s a subtle visual counterpoint, reminding us that beneath that façade of control lies human imperfection. An acknowledgement of individual aspiration? It does suggest, through subtle adornment, a statement about identity, almost challenging the otherwise restrained uniformity. Curator: One could argue just that! Ultimately, I find the very limitations of the medium—engraving, with its stark black and white—lend such power to the psychological presence of Hauerberg in Andreas Flint's treatment. Editor: I agree. In viewing the portrait now, it brings to the forefront an interesting dynamic between what one performs in society, and how one seeks to declare the individual's sense of self.