In the world of maritime art, Norwegian painter Christian Krohg’s Leiv Eirikson Discovering America is a masterpiece of seafaring imagery. This artwork has long held a prominent place in the collections of the National Museum in Norway, enchanting visitors with its vibrant depiction of Leif Erikson’s voyage to the New World. However, this past year the painting sailed into a public storm over the relevance of classical art in the age of cancel culture.
The flap began in June 2022 when the National Museum completed its long-anticipated move to a new facility. As part of the relocation, museum officials decided to remove Krohg’s painting from primary display and relocate it to storage in the basement, citing concerns about its portrayal of historical events and a lack of diversity in museum collections.
In a February 2023 interview with Aftenposten, the museum’s director of collections, Stina Högkvist, called the painting “a romanticization of Norwegians who went to America,” and “a colonialist image.” Högkvist explained that the museum wanted to challenge historical norms and devote space to more works by female and indigenous artists instead of predominantly white male artists.
Falling Leif
The demotion of one of Norway’s most iconic works of Viking art sparked an immediate backlash and a heated dialogue on the fine line between art, historical representation, and cultural sensitivity.
To many, Leiv Eirikson Discovering America is more than just an oil-on-canvas depicting the Viking explorer and his crew; it is a visual testament to the adventurous spirit of the Norwegian people. The painting captures the moment of discovery when Erikson reaches the shores of North America, the first European to do so. Leif Erikson stands tall at the helm, triumphantly gesturing toward the faint outline of a new continent.
Others have pointed out the less-than-Scandinavian genesis of the piece. Originally, it was commissioned by a group of Norwegian-Americans for display at the 1893 World’s Fair in Chicago to promote Norwegian heritage. In 1900, lacking a permanent home for the painting, the group donated it to the National Museum in Norway, where it has traditionally been on prominent display.
Public reaction to the painting’s removal was largely negative. Though some hailed it as a necessary step towards addressing historical biases, many others, including some art critics, viewed it as an attack on artistic expression and cultural heritage.
A pubic apology
Collections Director Stina Högkvist quickly apologized for her comments, calling her choice of words “careless” and saying that the museum wants “to show both the classics and works that have not, or only to a small degree, been exhibited before.”
The museum’s top director, Karin Hindsbo, also issued a statement. She acknowledged concerns raised by the public but emphasized that the decision to remove the painting was not about censoring art but rather about critically evaluating the representation of history. Hindsbo pointed to the need for museums to remain dynamic and reflective of evolving societal values, as well as the reality of limited space. Many other Krohg paintings remained on display.
As part of the damage control, Hindso announced that the Erikson painting would be reinstalled in a prominent location near the new facility’s entrance for a special 4-week exhibition. The museum also scheduled a forum to discuss the controversy.
While some applauded the museum’s commitment to fostering critical examination of art, others viewed it as a capitulation to cancel culture, where even revered works of art can be deemed offensive and erased from public view.
While little more than a tempest in the teacup of world affairs, it underscores the balance that institutions like the National Museum must maintain between preserving the integrity of historical representation and respecting the evolving sensibilities of a diverse and inclusive society.
Krohg’s painting serves as a reminder that art is not static; art reflects its time as well as an ongoing dialogue between past and present. No matter whether Leiv Eirikson Discovering America is a victim of cancel culture or a herald of change, Krohg’s painting is a testament to the power of art to ignite passionate discussions about our shared history and a collective path forward.