Norge Norge 

Curator: The ethereal landscape we’re looking at is called "Norge Norge", rendered in ink by Theodor Severin Kittelsen. There's a stillness to it. What’s your first impression? Editor: I find it simultaneously serene and dramatic. The stark contrasts in the drawing—those brilliant rays breaking through the clouds—speak to a sense of power. It almost feels like a divine announcement over the waters. Curator: Yes, the symbolism of light as divine revelation is potent. We see that consistently through history; Kittelsen, with his attention to light and landscape, taps into that deep well of human spirituality and our connection to place. The title alone, "Norway Norway," implies a deeper resonance with the land itself. Editor: Absolutely. Considering the sociopolitical context of the time—the rise of Norwegian nationalism—the intense focus on a specific landscape can be read as a kind of cultural affirmation or a statement about national identity. The vast, almost empty space could reflect the potential and anxieties of forging a national identity. Curator: And we shouldn’t discount the smaller details: the tiny boat at sea. In many cultural traditions, boats represent journeys, both physical and spiritual. It could be symbolic of Norway itself, charting a new course. Editor: I see that too. It also adds a feeling of human scale to what would otherwise be an overwhelming panorama, suggesting we are participants, however small, in this unfolding drama. Who exactly does Norway belong to? What are the stakes? It speaks volumes, without explicitly spelling them out. Curator: Precisely. Kittelsen's work allows for these nuanced readings because of its roots in symbolism and broader historical movements. By distilling the essence of a place into a series of iconic images, he provides viewers with the vocabulary to articulate what it means to belong. Editor: It seems this landscape, then, transcends simple depiction; it serves as a site where identity is negotiated, power dynamics are illuminated, and stories about ourselves are told and retold. Curator: A fitting observation. The simplicity of the medium allows us to find greater depth in both ourselves and the natural world. Editor: Indeed. Kittelsen uses landscape to illuminate not only nature, but humanity.