Art of Norway

For much of its history Norwegian art is usually considered as part of the wider Nordic art of Scandinavia. It has, especially since about 1100, been strongly influenced by wider trends in European art. After World War II, the influence of the United States strengthened substantially. Due to generous art subsidies, contemporary Norwegian art has a high production per capita.

Though usually not especially a major centre for art production or exporter of art, Norway has been relatively successful in keeping its art; in particular, the relatively mild nature of the Norwegian Reformation, and the lack of subsequent extensive rebuilding and redecoration of churches, has meant that with other Scandinavian countries, Norway has unusually rich survivals of medieval church paintings and fittings. One period when Nordic art exerted a strong influence over the rest of northern Europe was in Viking art, and there are many survivals, both in stone monuments left untouched around the countryside, and objects excavated in modern times.

The Reformation and the loss of a permanent royal court after the Kalmar Union of 1397 greatly disrupted Norwegian artistic traditions, and left the existing body of painters and sculptors without large markets. The requirements of the small aristocratic class were mainly for portraits, usually by imported artists, and it was not until the 19th century that significant numbers of Norwegians were trained in contemporary styles.

Norwegian art came into its own in the 19th century, especially with the early landscape painters. Until that time, the art scene in Norway had been dominated by imports from Germany and Holland and by the influence of Danish rule. Initially with landscape painting, later with Impressionism and Realism. Though for the rest of the world Edvard Munch (1863–1944) is certainly Norway's great artistic figure, there have been many other significant figures.

Johan Christian Dahl (1788–1857) is often said to be the "father of Norwegian landscape painting". After a period in Copenhagen, he joined the Dresden school to which he made an important contribution. He eventually returned to paint the landscapes of western Norway, defining Norwegian painting for the first time.

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