Getting Ready for a Game - Carl Larsson
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Description
A warm, detailed watercolour by Carl Larsson depicting a domestic scene in his family home, Lilla Hyttnäs, in 1901.
Carl Larsson, a central figure in Swedish art at the turn of the twentieth century, produced this work in 1901. It depicts a domestic scene within his family home, Lilla Hyttnäs, in Sundborn. The composition captures the warmth of a Swedish household, focusing on the preparation for an evening activity. A woman stands by a sideboard, while children wait at the table, illuminated by the soft glow of a lamp.
Larsson is recognised for his ability to document the daily life of his family with precision and affection. His style often employs clear outlines and a bright, controlled palette, which became synonymous with the Swedish interior design aesthetic. The room is filled with specific details: the red-painted furniture, the ceramic plates displayed on shelves, and the inscription 'Guds Fred' (God's Peace) above the doorway. These elements reflect the influence of the Arts and Crafts movement, which prioritised functional, handcrafted beauty in the home environment.
This watercolour demonstrates Larsson's technical skill in handling light. The contrast between the warm, artificial light of the lamp and the cooler tones visible through the open door creates a sense of depth. The scene is not merely a record of a room, but a narrative of family life. By focusing on the mundane tasks of setting a table, Larsson elevates the domestic sphere to a subject worthy of artistic attention. His work remains a primary reference for the development of modern Scandinavian interior style, balancing decorative elements with a clear, structured composition. The print captures the texture of the original watercolour, preserving the delicate washes and the precise ink lines that define the forms of the furniture and the figures.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
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- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
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- Frames in black, natural wood, dark wood or white
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To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Getting Ready for a Game - Carl Larsson
Artist Biography
Carl Larsson
He struggled for years, working as an illustrator and retoucher of photographs while trying to establish himself as a painter. In 1882, at an artists' colony in Grez-sur-Loing outside Paris, he met the artist Karin Bergoo. They married, and everything changed. The watercolours he began painting in Grez were lighter, more fluid and more personal than anything he had produced before.
In 1888 Karin's father gave them a small house called Lilla Hyttnas in Sundborn, a village in Dalarna. The house became their joint project: Carl painted it, Karin designed the interiors, the furniture, the textiles, the colour schemes. The result was one of the most influential domestic interiors in Scandinavian design, a prototype for what would eventually become Swedish modernism. He painted the house and the family inside it (they had eight children) in watercolours that were published as a book, Ett Hem (A Home), in 1899. It sold across Europe.
The paintings of Sundborn are warm, bright and apparently effortless, which made people assume his life was too. It was not. He suffered depression in his later years and had a stroke in 1919. His most ambitious painting, Midvinterblot, a monumental canvas of a Viking midwinter sacrifice, was rejected by the National Museum. He admitted in his memoirs that the pictures of his family and home had become the most lasting part of his work. He was right.
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