Talaksan:When the Children have Gone to Bed. From A Home (26 watercolours) (Carl Larsson) - Nationalmuseum - 24207.tif

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Carl Larsson: When the Children have Gone to Bed. From A Home (26 watercolours)  wikidata:Q18587336 reasonator:Q18587336
Artista
Carl Larsson  (1853–1919)  wikidata:Q187310 s:sv:Författare:Carl Larsson
 
Carl Larsson
Panghaliling mga pangalan
Carl Olof Larsson
Paglalarawan Swedish watercolorist, ilustrador, pintor, grabador, graphic artist at dibuhista
Petsa ng kapanganakan/kamatayan 28 Mayo 1853 Baguhin ito sa Wikidata 22 Enero 1919 Baguhin ito sa Wikidata
Lugar ng kapanganakan/kamatayan Storkyrkoförsamlingen Sundborns
Panahon ng paghahanap-buhay 1873 Baguhin ito sa Wikidata–1919 Baguhin ito sa Wikidata
Lugar ng hanap-buhay
Stockholm; Paris; Grez-sur-Loing; Falun Municipality Baguhin ito sa Wikidata
Kontrol sa awtoridad
artist QS:P170,Q187310
image of artwork listed in title parameter on this page
Pamagat
English: When the Children have Gone to Bed. From A Home (26 watercolours)
Svenska: När barnen lagt sig. Ur Ett hem (26 akvareller)
Object type painting
object_type QS:P31,Q3305213
Paglalarawan
English: Carl and Karin Larsson combined new design with old traditions. Practicality dictated their interior design, but it was equally important that furniture and objects form an attractive harmony. This ideal was also propagated by others, including Ellen Key, who advocated homes that were in a new and light style, in her essay “Skönhet för alla” (Beauty for All) in 1899.

The Larssons moved to Lilla Hyttnäs, a house in Sundborn, in the summer of 1889. Here, Carl and Karin together created the interiors that made their home famous. Karin designed the furniture and textiles, which she embroidered and wove. A studio was fitted up in one of the hallways. It features many eye-catching details, including the funny man crowning a column. When a larger studio extension was added, this room became a workshop for the whole family.

The interiors of the Larsson home were characterised by rural simplicity. Nevertheless, every detail was carefully designed, with influences from England, Scotland and Japan. The kitchen, which was first and foremost a place for household chores, did not display the same modern interior style and comfort as the rest of the house.
Svenska: Hos Carl och Karin Larsson möttes ett nytt formspråk och gammal tradition. De praktiska ändamålen styrde inredningen, men lika viktigt var att möblerna och föremålen samspelade i en harmoni. Dessa idéer förespråkades också till exempel av Ellen Key. Hon pläderade för nya och ljusa hem i sin uppsats ”Skönhet för alla” från 1899.

Larssons flyttade till huset Lilla Hyttnäs i Sundborn sommaren 1889. Carl och Karin skulle där tillsammans skapa den inredning som gjorde hemmet berömt. Karin formgav både möbler och textilier som hon broderade och vävde. En av tamburerna inreddes tidigt till ateljé. Där finns rikligt av iögonfallande detaljer, till exempel den lustige figuren på krönet till stolpen. När en större ateljé byggdes blev detta rum en verkstad för hela familjen.

Inredningarna i det Larssonska hemmet gav sken av en lantlig enkelhet. Samtidigt var allt noga genomtänkt och influenserna hämtades bland annat från England, Skottland och Japan. Köket som främst var en plats för hushållsarbete och matlagning hade dock inte samma moderna inredningsstil och bekvämlighet som de övriga rummen.
Original caption
InfoField
English: Carl and Karin Larsson combined new design with old traditions. Practicality dictated their interior design, but it was equally important that furniture and objects form an attractive harmony. This ideal was also propagated by others, including Ellen Key, who advocated homes that were in a new and light style, in her essay “Skönhet för alla” (Beauty for All) in 1899.

The Larssons moved to Lilla Hyttnäs, a house in Sundborn, in the summer of 1889. Here, Carl and Karin together created the interiors that made their home famous. Karin designed the furniture and textiles, which she embroidered and wove. A studio was fitted up in one of the hallways. It features many eye-catching details, including the funny man crowning a column. When a larger studio extension was added, this room became a workshop for the whole family.

The interiors of the Larsson home were characterised by rural simplicity. Nevertheless, every detail was carefully designed, with influences from England, Scotland and Japan. The kitchen, which was first and foremost a place for household chores, did not display the same modern interior style and comfort as the rest of the house.
Svenska: Hos Carl och Karin Larsson möttes ett nytt formspråk och gammal tradition. De praktiska ändamålen styrde inredningen, men lika viktigt var att möblerna och föremålen samspelade i en harmoni. Dessa idéer förespråkades också till exempel av Ellen Key. Hon pläderade för nya och ljusa hem i sin uppsats ”Skönhet för alla” från 1899.

Larssons flyttade till huset Lilla Hyttnäs i Sundborn sommaren 1889. Carl och Karin skulle där tillsammans skapa den inredning som gjorde hemmet berömt. Karin formgav både möbler och textilier som hon broderade och vävde. En av tamburerna inreddes tidigt till ateljé. Där finns rikligt av iögonfallande detaljer, till exempel den lustige figuren på krönet till stolpen. När en större ateljé byggdes blev detta rum en verkstad för hela familjen.

Inredningarna i det Larssonska hemmet gav sken av en lantlig enkelhet. Samtidigt var allt noga genomtänkt och influenserna hämtades bland annat från England, Skottland och Japan. Köket som främst var en plats för hushållsarbete och matlagning hade dock inte samma moderna inredningsstil och bekvämlighet som de övriga rummen.
Petsa Hindi alam na araw
Unknown date
Midyum
Svenska: Akvarell på papper. Glasad
Sukat
  • height: 32 cm; width: 43 cm
    dimensions QS:P2048,32U174728
    dimensions QS:P2049,43U174728
  • Framed: height: 38 cm; width: 53 cm; depth: 3.5 cm
    dimensions QS:P2048,38U174728
    dimensions QS:P2049,53U174728
    dimensions QS:P5524,3.5U174728
institution QS:P195,Q842858
Bilang sa pagtatamo
NMB 266
Exhibition history
Mga inskripsiyon
Svenska: Signerad: C.L. [monogram]
Talasanggunian
Pinagmulan/Litratista Erik Cornelius / Nationalmuseum
Permiso
(Muling paggamit sa file)

This is a faithful photographic reproduction of an original two-dimensional work of art. The work of art itself is in the public domain for the following reason:

Public domain

The author died in 1919, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.

This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1929.

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Public domain Nationalmuseum has placed those images in the Public Domain which have been acquired exclusively by digital reproduction of those works of art that are no longer protected by copyright. Nationalmuseum does not consider that a new copyright emerges for the reproduction.

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Nakilala ang talaksan bilang malaya mula sa nalalamang mga paghahangga sa ilalim ng batas sa karapatang-ari, kasama ang lahat ng mga kaugnay at karatig na mga karapatan.

In many jurisdictions, faithful reproductions of two-dimensional public domain works of art are not copyrightable. The Wikimedia Foundation's position is that these works are not copyrightable in the United States (see Commons:Reuse of PD-Art photographs). In these jurisdictions, this work is actually in the public domain and the requirements of the digital reproduction's license are not compulsory.


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