Thor 1822

Editor: Here we have "Thor," a charcoal and etching print created in 1822 by Sören Henrik Petersen. The figure’s strong physique stands out immediately, but what really grabs my attention is how classical it feels, almost Roman. What's your take on this portrayal, considering its historical context? Curator: It’s fascinating how Petersen, working in the 19th century, appropriates the visual language of classical sculpture to depict a Norse god. Consider the socio-political climate: Romanticism was in full swing, with a surge of nationalism and a renewed interest in folklore. What might Petersen be saying about Danish identity by casting Thor in this idealized, Greco-Roman form? Is he elevating Norse mythology to the level of classical antiquity, or is he perhaps suggesting something else about the present through his portrayal of the past? Editor: That's interesting. I hadn't thought about the nationalistic angle. I was more focused on the, let's say, borrowed aesthetic. The contrapposto, the drapery... it's all so deliberate. Curator: Precisely. And it raises a question about cultural ownership and appropriation. The museum itself becomes a site where these debates unfold. How does displaying "Thor" in this style influence our understanding of Danish history and cultural heritage? Editor: It definitely complicates the narrative. Seeing Thor represented this way makes me think about the power dynamics inherent in art and how even representations of mythology can be shaped by contemporary politics. It makes you question whose version of history is being presented. Curator: Absolutely. It reminds us that art is never created in a vacuum. Works like Petersen's "Thor" can reveal just as much about the era in which they were made as they do about the subjects they depict.