Ixion 1906

Editor: Here we have Oluf Hartmann’s "Ixion" from 1906, a print using aquatint, etching, and engraving. It feels incredibly turbulent, with this central figure caught in what looks like a vortex. What's your take on it? Curator: It's interesting how Hartmann appropriates the myth of Ixion. In Greek mythology, Ixion was punished by Zeus for his lust by being bound to a perpetually spinning, fiery wheel. The political and social context of 1906 Denmark saw a rise in industrialization, so to portray that moment through printmaking, a readily available medium, implicates viewers by allowing greater access. Is Hartmann suggesting societal progress is inherently torturous? Editor: I didn't consider the industrial connection. It's easy to get lost in the mythological aspect. Do you think the stark contrast between light and shadow contributes to this feeling? Curator: Absolutely. The use of aquatint creates this dramatic chiaroscuro, which was popular, but here it underscores Ixion's anguish and possibly reflects broader anxieties about modernity. Consider who would be viewing this piece - primarily a bourgeois audience that enjoyed mythological themes with subtle cultural critique. It is through that market of galleries that this type of moral commentary became mainstream entertainment. Editor: That is some amazing insight regarding the culture behind his works, and I find your points regarding societal issues of the time thought-provoking. This piece suddenly resonates so much deeper with me now. Curator: Likewise, it’s helpful to revisit artwork alongside new perspectives. Thanks to that exchange, the print certainly feels relevant.