Mother and Daughter - Carl Larsson
Archival giclée
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Description
A serene domestic scene by Carl Larsson, capturing a quiet moment between mother and daughter within the artist's home at Sundborn.
This work by Carl Larsson captures a quiet moment within the family home at Sundborn. Larsson, a central figure in Swedish art, often depicted his wife, Karin, and their children in scenes that defined the aesthetic of the Swedish home at the turn of the twentieth century. The composition focuses on the interaction between a mother and daughter, set against the backdrop of custom-built wooden cabinetry that characterises the Larsson residence, Lilla Hyttnäs. The artist employs a precise, linear style, using watercolour to define the textures of the wooden panelling and the fabric of the clothing. The daughter sits in a striped pinafore, while the mother stands, creating a sense of domestic stillness. The colour palette is restrained, relying on soft blues, creams, and the warm, natural tones of the wood, punctuated by the red interior of the shelving unit. This specific use of colour and line reflects the influence of the Arts and Crafts movement, which prioritised functional design and the beauty of natural materials. Larsson's work is notable for its ability to elevate everyday activities into subjects of artistic merit. By documenting the personal environment of his family, he provided a visual record of a specific lifestyle that became synonymous with Swedish national identity. The attention to detail in the joinery and the arrangement of books suggests a household where design and daily life are integrated. This print offers a clear view of Larsson's technical skill, particularly in his handling of light and shadow within an interior space. The work remains a primary example of his ability to balance decorative elements with human narrative, providing a glimpse into the private world of an artist who shaped the visual culture of his time.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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Manufacturing
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.
Mother and Daughter - Carl Larsson
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
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
- Handle prints with clean, dry hands
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
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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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