ABSTRACT
This chapter investigates the tableau as a communicational mode and genre in the late 18th century, specifically within the context of the adornment of Christiansborg Palace's Great Hall in Copenhagen. Nicolai Abraham Abildgaard's utilization of the tableau in ten large history paintings from 1778 to 1791 aimed to bolster the political foundation of the absolute monarchy by depicting the Oldenburg dynasty's history. By embodying idealized historical moments, the tableau served as a didactic tool designed for immediate comprehension by viewers. Challenging the traditional view of genres as mere categorical descriptors, this chapter argues for the recognition of genres as dynamic instruments for meaning creation and interpretation, bridging texts, their creators and audiences. The chapter argues for understanding the tableau beyond a mere artistic genre, viewing it as a medium reflecting and shaping the emerging middle class's identity. The concise investigation redefines the tableau as a key narrative device within the communicative landscape of the time. The chapter asserts that the tableau's communication strategy is intricately linked to this era's changing exemplarity, particularly in response to the growing readership of the middle class. As a genre, the tableau embodies a morally didactic essence that is readily accessible and aimed at persuading its viewers, indicative of its widespread resonance within the 18th-century bourgeoisie and its significant role in the cultural fabric of the time.
