During the seventeenth century, the artistic production of new images and objects in Northern Europe reached a hitherto unprecedented scale. Painting in Norway thrived as well, but under conditions that privileged copying as a ruling principle. Most Norwegian painters made their living from copying printed images for church interiors. Therefore, early modern visual culture in Norway consists of a hybrid mix of repeated image, together with a material culture and ornamentation adapted to the local context. Altarpieces, pulpits, and panels were decorated with images copied after designs by artists like Maerten de Vos, Antony van Dyck, Jacob Jordaens and Peter Paul Rubens, through reproductions. The prints that were used as models were, as a rule, produced in Antwerp and Amsterdam, and probably imported from there through the well-developed commercial trade relations between the Low Countries and Norway. In recent years, art historians have given their attention to how a shared, global visual culture was constructed from the dissemination and circulation of Flemish and Dutch graphic prints in the early-modern period (Porras 2023; Hyman 2021; Schmidt/Wouk 2017). In this paper, I will address this phenomenon from a Norwegian perspective, focusing on works by the painters Gottfried Hendtzschel and Elias Fiigenschoug.