Interior with Reading Lady / Lilla Hyttnäs in Sundborn –In the autumn of 1885, when Carl Larsson painted the present interior of Lilla Hyttnäs, the cottage was still a new acquaintance for him. At that time, it was inhabited by two of Karin’s aunts, Ulla and Maria Bergöö. The woman depicted in the painting is Karin's aunt Ulla. She is seated by a tall writing desk in the antechamber, reading a letter. She appears to be quite young, with finely cut features and a slender figure. The interior is neat, with inherited furniture of good quality, a handwoven rag rug on the floor, and flourishing potted plants on the windowsill. Apparently, the interior made an impression on both him and Karin, for even though the house and antechamber were renovated and expanded in several stages during the artist couple's lifetime, many elements can be recognized in Carl Larsson's later depictions of the same room. What was perceived as bourgeois was cleared out, yet the atmosphere of the antechamber— the scent of simplicity and rural charm—remained even after the Larsson family had taken over the house.

The Blinding of Paul – Carl Milles was one of Sweden’s most successful sculptors during the first half of the 20th century. In his time, he was also one of the relatively few Swedish artists to gain recognition outside of Europe, largely due to the twenty years he spent as a professor at the Cranbrook Academy of Art in the United States. With a keen sense for religion and spirituality, Carl Milles was well-versed in the stories and iconography of the Bible. In this sculpture, he depicts a famous passage from the Bible that portrays the moment when the apostle Paul, then still named Saul, converted to Christianity. The complex subject represents Saul’s conversion when, on his way to Damascus, he was struck by a powerful heavenly beam of light, blinded, and fell from his horse. The Blinding of Paul is one of the visionary works where Carl Milles’ original idea for a monumental sculpture group remained at the sketch stage, yet the central theme was fortunately cast in bronze. The overall expression and the driving force of the sculpture lie in the contrasting movement when Paul is blinded. In one violent, twisted motion that permeates the entire dynamic composition, Carl Milles illustrates the dramatic moment of the story, while maintaining balance and tension in the central structure. The execution is characteristic of Milles’ monumental works, which, in their sublime theatricality and movement, seem to defy gravity.