Vægdekorationer til Valhøj 1838/1839 1838 - 1839

Curator: Hmm, it's quite charming in its own way. I'm drawn in by this exploratory nature; like a little glimpse into an artist’s playful imaginings. Editor: I find the composition striking. Here we have "Wall Decorations for Valhøj," made in 1838-39 by Lorenz Frølich. This is a fascinating piece in that it reveals Frølich's experimentation with wall decorations and murals— specifically his foray into frescoes, tempera, and watercolor. Curator: Yes, experimental is the perfect word. The muted colours and somewhat naive execution lend a dreamlike, almost faded quality. It reminds me of uncovering some forgotten treasure in a dusty attic. Are we meant to understand that he designed this work for Valhøj in particular, and if so, who was the audience? Editor: Valhøj was associated with the National-Liberal movement during a pivotal time of heightened national romanticism and burgeoning Danish nationalism, with people wanting to find the meaning of "Danishness". Knowing this, these decorations signal an interesting intersection of classical aesthetic and this idea of a 'Denmark'. Here, Frølich may be reaching back to ancient, heroic themes to articulate that national identity. Curator: The vignettes certainly lean into classical mythology, don’t they? I am amused by how the busts almost seem to preside over these miniature dramas, like judgmental gods on Mount Olympus, whispering cutting remarks about the dramas below. But that interpretation depends, of course, on who might have commissioned and eventually viewed it! Editor: Absolutely. And if we consider Romanticism as more than just pretty landscapes, but as a movement steeped in power dynamics— who gets represented, and how—this work becomes all the more charged. Curator: And, of course, the ever-present question: did it all go to plan?! Even in this seemingly finished piece, there's a tentative feeling of it all still in process and to be discovered...a hidden world revealed in gentle brushstrokes! Editor: Right, it gives us license to delve a little deeper ourselves, asking: How do ideas of national identity get materialized in art? Curator: Exactly. Thank you, that certainly shifted my viewpoint! Editor: The pleasure was all mine.