Portræt af Christian IV 1625

Curator: Here we have Jan Harmensz. Muller's 1625 engraving, "Portræt af Christian IV," housed here at the SMK, Statens Museum for Kunst. It’s a potent image of the Danish-Norwegian king. Editor: It’s striking, especially the near-monochrome treatment. The intricate linework creates a powerful sense of texture, look at the lace ruff! But the reddish hue almost mutes the image. Curator: The choice of printmaking and the specific coloring would have broad implications for distribution and visibility. Remember, this was during Christian IV's reign, a period when monarchs were carefully crafting their public images. The availability of such prints across the kingdom served specific political functions. Editor: True, and thinking formally, notice the strategic placement of his regalia - the crown, the helmet, even the scepter in his hand. These elements frame him, reinforcing his authority through symbolic representation. The gaze directs the viewer, almost a confrontational dare! Curator: Precisely, he’s staged here in the context of governance, the Baroque era emphasizing power and dramatic presence. Prints like this acted as early forms of propaganda, bolstering the king's legitimacy in the face of internal and external challenges. Consider his extensive building projects… this portrait solidifies that vision of power. Editor: There’s an interesting duality though. The ornate details are captivating, but there is also the flatness, from the printmaking itself. It contrasts this grand image, with a tactile intimacy and draws me in despite his intense gaze. Curator: The intimacy could very well be intended to create a more sympathetic relationship between the ruler and the ruled. These were circulated among the rising merchant classes, government employees and noble houses that served the kingdom. Editor: So much captured in line and tone… From an artistic viewpoint, I’m still marveling at the sheer craftsmanship that can achieve so much tonal nuance through what are essentially lines in ink. Curator: Indeed, Muller’s technique allows us to not just see the man, but understand something of the projection of power Christian IV aimed to create and project in 17th century Denmark. Editor: The artwork is both an object and idea in its purest forms, I agree.