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Lot Essay
The present painting records the thirteenth birthday celebration of Larsson's daughter Kersti, who is seated at the right hand side of the picture. The party took place in Larsson's garden and Karin, the Artist's wife, has dressed Kertsi and all of the other girls in the 'Sundborn' dress, which she had designed specifically for the Children's Day celebrations in the neighbouring town of Falun. The day is recorded in an entry of Carl's diary and in a letter from Karin to her mother which reads, "I am sitting here and sewing as much as I can do to be able to get the girls ready for the parade on 'Children's Day'" (Exhibition Catalogue, Carl Larsson, Blaafarvevaerket, Drammen, 1989, p.110).
The significant impact of Karin's textile designs upon Swedish interior design and fashion has been recognised as a creative influence that was independent of her husband's work. In this instance, Karin has demonstrated her interest in the local, traditional Dalarna textiles, whilst also developing her own synthesis of bold, geometrical design. Nonetheless, the couple's shared respect for the totality of their vision of modern, simplistic living meant that they were equally committed to Carl's need to create an art that would be, "Useful and make people happy, not just for one person, but for everybody" (Görel Cavalli-Björkman and Bo Lindwall, The World Of Carl Larsson, The Green Tiger Press La Jolla, 1989, p. 32).
In the painting, there is a sense of the pride that Carl Larsson held for his wife's work and the home that she had created and which also served as a basis for the majority of the artist's work. Larsson's decision to paint his child and her friends, is coupled with his need to communicate his message that, " A home is not a lifeless object, but a living entity and like everything that is alive, it must obey the law of life; it must keep changing from moment to moment" (ibid., p. 142). Much like the 'Ett Hem' (At Home) series of watercolours from ten years earlier, in which a more austere rendering of the same outdoor setting appears, this painting expresses the artist's continual need to affirm his respect for the family, his home and the sense of unity that he shared with his wife.
The significant impact of Karin's textile designs upon Swedish interior design and fashion has been recognised as a creative influence that was independent of her husband's work. In this instance, Karin has demonstrated her interest in the local, traditional Dalarna textiles, whilst also developing her own synthesis of bold, geometrical design. Nonetheless, the couple's shared respect for the totality of their vision of modern, simplistic living meant that they were equally committed to Carl's need to create an art that would be, "Useful and make people happy, not just for one person, but for everybody" (Görel Cavalli-Björkman and Bo Lindwall, The World Of Carl Larsson, The Green Tiger Press La Jolla, 1989, p. 32).
In the painting, there is a sense of the pride that Carl Larsson held for his wife's work and the home that she had created and which also served as a basis for the majority of the artist's work. Larsson's decision to paint his child and her friends, is coupled with his need to communicate his message that, " A home is not a lifeless object, but a living entity and like everything that is alive, it must obey the law of life; it must keep changing from moment to moment" (ibid., p. 142). Much like the 'Ett Hem' (At Home) series of watercolours from ten years earlier, in which a more austere rendering of the same outdoor setting appears, this painting expresses the artist's continual need to affirm his respect for the family, his home and the sense of unity that he shared with his wife.