The Vigeland Museum has registered approximately 420 woodcuts made by Gustav Vigeland during the years 1915-1940.
Vigeland used smooth-planed, knotless kitchen breadboards of birch. He drew directly on the board, or he transferred a drawing with the help of carbon paper to the board before starting to cut. The prints were not numbered, but most likely there were seldom made more than 20 to 30 prints, usually far less.
His subject matter was often inspired by the dramatic nature on the coast of southern Norway, with foaming surfs, rocky sea-swept shoreline and windblown trees. In 1928, Vigeland's summer house, Breime, was finished. It was located in Vigeland’s native district, west of Mandal. During the years 1932 to 1939 Gustav and Ingerid Vigeland spent nearly tree months every summer at Breime.
Vigeland never experimented with colour or technical innovations in his woodcuts. The cut, however, varies greatly, from broad, black contours, to thin, subtle and elegant white lines. In the beginning, a flat surface style dominated, and he repeated motifs from his sculptures in a strong decorative style. Soon, depth was added, and landscapes became more important.