Derek McLane has provided a set offering a conception of what Viegland’s studio might have looked like—cluttered with shelves of sculpted busts, some covered, some visible, and Vigeland’s sculpting tools. At this point in his life and career Vigeland, played by the versatile Hamish Linklater, is still struggling to be more successful and nurtures his dream of a great project that would make him immortal, but he is stubborn in his artistic purity, is against compromise and guards his dignity and conception of what good art is supposed to be.

In the beginning we see two models posing nude (partially shielded from the audience) for a sculpture. One is his young assistant Anfnn (Mickey Theis) and an older, full-bodied woman, Greta (Dale Soules). Vigeland wants privacy, but his agent Sophus (Henry Stram) bangs on the door until he is admitted. He is quickly aghast when he recognizes Greta as his housekeeper and turns away in disgust at seeing her doing such an undignified thing as posing in that state. Greta earns our respect by sarcastically telling him off for the paltry wages he pays and gets fired, after which Vigeland comes to the rescue by hiring her as his housekeeper.

Sophus bears news that an arrangement can be made for Vigeland to sculpt Ibsen, which would help him win favor to secure financing for his major project. But Ibsen’s reputation as a terribly difficult man turns off Vigeland. Of course, an arrangement will be made for Ibsen to visit Vigeland to discuss the matter.

Australian actor John Noble, cast as Ibsen, does an extremely effective job of capturing the playwright’s enormous ego, his disdain for having a bust made but looking upon his plays to guarantee his reputation after he is gone, and his expectation that Vigeland should bow and scrape to him. Vigeland does just the opposite, even taunting Ibsen by reading clippings of negative reviews, and a clash of personalities and artistic beliefs burst from them. Then, as he is about to leave in a huff, Ibsen collapses and is rushed for medical attention.

Later, seriously ill and increasingly infirm, Ibsen relents and summons Vigeland to come to his home to sculpt him. Vigeland seizes the opportunity, but suddenly there is a very contrived crisis. His assistant, hiding the fact, realizes there is no clay and substitutes some mud instead before he flees the city. Vigeland goes to see Ibsen at home in hope that some clay can be delivered there in time, and meanwhile, pretends to be working while more talk ensues between the artist and his nearly out-of-it subject. We are teased as to whether Ibsen will discover the ruse.