Some, such as the Los Angeles Times, called it "imaginative", while a correspondent for the BBC described it as "the world's worst mural, at which I have sat and gazed for many bewildering hours".

[10] Krohg was also part of a group of four Norwegian artists including Henrik Sorensen, Jean Heiberg and Axel Revold who emphasised the purpose of their art as a form of moral education.

In the bottom field Krohg used brown and red tones to depict a coiled dragon holding a sword in its mouth as it attempts to pull it out of its body.

[3] These men, women and children are moving from each side of the sloping hill to meet in the middle where a white Phoenix stands with its wings unfolded.

[3] According to the United Nations the bottom field of the mural "represents man's efforts to emerge from a dark past of war and slavery to a better life and a future illumined by science and the arts".

The line of blue silk running between the two square panels illustrates the United Nation's commitment to future peace and individual freedom.

[3] In this artwork, "the children surrounded the solemnly kneeling parents in safe tranquility", inspiring Krohg to place a similar concept in the centre of the United Nations Security Council.

In this panel Krohg illustrates an image of a man standing next to a prancing horse, admired by a figure with a pickaxe in dark hues from below.

On the left two figures are depicted building a form of architecture which has been suggested to resemble Oslo City Hall and represents industrial expansion.

Scenes of equality are displayed in the two rectangular panels were Krohg has depicted images of enslaved men being embraced by crowds of people from different ethnicities.

[13] The dark tones and ashes depicted in the bottom field of the artwork is symbolic of World War Two, a prevalent event which influenced Krohg's mural.

[14] The image of a woman opening a window to allow sunshine into the room in the extreme left panel expresses the new harmonious world removed from forces of evil.

[8] Krohg wanted the artwork to inspire the delegates in the Security Council chamber to ensure the work of the United Nations provides the opportunity for a new and more valuable life after the tragedies of World War 2.

[3] Further references are made to the Greek Orthodox Church through the use of an almond shape centre panel called a mandorla, which traditionally displays sacred images.

In an article for the German Review on the United Nations, Maria Sandvik raised the question of whether Norwegian Secretary-General Trygve Lie and head architect Arnstein Arneberg pressured Krohg to paint the artwork in a particular direction.

The panel did not initially accept Krohg's artistic concept, citing concerns that the intricacy of the artwork might distract delegates, and cause them to lose concentration.

"[8] On January 7, 1950, a royal decree (that cost Norway 109,000 kroner) made it compulsory for the United Nations Art Panel to approve the painting.