History paintings in danish histories: A study of history paintings from Frederiksborg in broad histories of Denmark from the 21st century

This paper examines howDanish history paintings from the 19 th century connected to TheMuseum of National History at Frederiksborg Castle, were used in history books from the21 st century to tell the history of Denmark . The analysis shows that a select few of thesehistory paintings that were intended to tell history in an engaging but also nationalistic way,are still much circulated in today’s broad history of Denmark. However, the analysis alsoshows the presence of a somewhat critical historical distance to the painting’s in terpretationof the past. The writers of today’s histories of Denmark seem to be caught between using thehistory paintings due to their engaging and moving interpretation of the past, but at thesame time trying to distance themselves and us from that int erpretation. What can be drawnfrom this, is that the ways we narrate history must also be understood as different ways ofconstantly distancing ourselves not just to the past but also to the past’s own histories.This paper examines howDanish history paintings from the 19 th century connected to TheMuseum of National History at Frederiksborg Castle, were used in history books from the21 st century to tell the history of Denmark . The analysis shows that a select few of thesehistory paintings that were intended to tell history in an engaging but also nationalistic way,are still much circulated in today’s broad history of Denmark. However, the analysis alsoshows the presence of a somewhat critical historical distance to the painting’s in terpretationof the past. The writers of today’s histories of Denmark seem to be caught between using thehistory paintings due to their engaging and moving interpretation of the past, but at thesame time trying to distance themselves and us from that int erpretation. What can be drawnfrom this, is that the ways we narrate history must also be understood as different ways ofconstantly distancing ourselves not just to the past but also to the past’s own histories