\nMuseums all over the world are home to antique stone sculptures that are missing noses, ears and more noble protrusions. Some have been
\ndestroyed by the ravages of time, but many have also been disfigured by conquerors, as is the case with two of the National Museum\u2019s marble
\nstatues, one from the tenth century and one from1942.
\nPer Kleiva\u2019s silkscreen print from 1971 depicting a swarm of US army helicopters has become a Norwegian icon from resistance to the Vietnam
\nWar.
\nThe anonymous street artist Banksy painted his iconic Happy Choppers as a comment on UK involvement in the war in Afghanistan and Iraq in 2003. And that\u2019s why Per Kleiva\u2019s graphic print from the collection is hanging on a wall papered with Banksy\u2019s motif.<\/p>\n
Art and consumption<\/strong> Art and Kingdom<\/strong> Fishing and oil production have been the cornerstone of Norway\u2019s economy for many years. Oil or Fish? was the title of Terje Roalkvam\u2019s trenchant poster produced for the environmental group Nature and Youth in 1977. Where today the latter still appears to be the poor relation. <\/p>\n
\nNorwegian artist Per Krohg produced an advertising poster for the brewery Schous Bryggeri around 1917 featuring a caricatured portrayal of a happily inebriated man. The ceramist Ingrid Askeland\u2019s over-dimensional sixpack of beer bottles from 2005 tells a similarly caricatured story from the artist\u2019s own night-life experiences.
\nThe share-listing display case in Art-Nouveau style from the Exposition Universelle in Paris in 1900 was gifted to the Norwegian Museum of Decorative
\nArts and Design by the Oslo Stock Exchange in 1958. The same style was also an important source of inspiration for art and design in the 1960s, as
\nreflected, for example, in John Alcorn\u2019s advertising motif featuring a sunrise for 7UP. Japonism\u2019s influence on western art is demonstrated through
\nTotoya Hokkei\u2019s coloured woodcut of a sunrise over the ocean, mounted under the glass lid of the
\nArt-Nouveau display case.<\/p>\n
\nConceptions of Norwegian national identity are a recurring theme in the National Museum, but what does an institution\u2019s collection say about its actual
\nstatus? In 1982 pop-artist Andy Warhol painted a portrait of Queen Sonja of Norway when she visited the artist\u2019s studio in New York. The fact that
\nthe portrait was accepted as a gift by the museum in 1988 presumably reflects the elevated status of both artist and subject. The \u201croyal decorative
\ndishes\u201d that adorned many Norwegian homes in the post-war years, on the other hand, have never found their way into the National Museum.<\/p>\n
\nThere is also a long way between Hans Gude\u2019s romantic portrayal of a net fisherman in R\u00fcgen in 1862 and the relentless grind of life in industrial fishing
\nfleets documented one hundred years later by K\u00e5re Kivij\u00e4rvi. Nonetheless, they belong in the same visual neighbourhood.<\/p>\n![\"\"](\"https:\/\/kabuso.no\/wp-content\/uploads\/2020\/04\/per-kleiva.-blad-fra-imperialismens-dagbok-2-968x1024.jpg\")
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