This paper examines the exhibition Allmänna konst- och industriutställningen in Stockholm 1897 and how landscape paintings by Swedish artists possibly could be interpreted as a part of the exhibitions political intention of being nationalistic. Methodically it is influenced by art historian Michael Baxandalls social history concept period eye. Focus is here about how and with what arguments the paintings could be said to be a fruit of their society. The purpose is to investigate whether, and if so, with witch rhetorical language the paintings were exhibited to help communicate a notion of common national values. The result shows that the paintings were exhibited together with international paintings, not side by side but divided country by country. Several paintings have parts in their motifs that in this context can be said to be related to the construction of national identity. A conclusion is that both paintings and context are performative.