Working around latitudinal lines, this research explores the historiographical and ecological synergies that exist across the northern Circumpolar region, focusing on Scandinavian and North American landscape painting between 1896 and 1933. Although a Circumpolar art history endeavours to resist the rhetoric of local, regional or national exceptionalism, it is simultaneously aware of the impact regional environments have had on artistic production. As a result, this thesis offers a powerful and timely corrective to the national study of art history, placing Scandinavian and North American art histories trans-nationally within the broader methodological and ecological framework of the Circumpolar North.