Important Spring Sale presents "Cherryblossoms" by Karin Larsson

Ingrid Andersson touches on this in "Karin Larsson. Artist and artist's wife" (1986): "From this time there are several works by Carl and Karin where they have just started on the same motif. In the spirit of outdoor painting, they took their motifs from the immediate surroundings. They have each painted their "Mére Morot" watching the harvest of pumpkins. A comparison shows that the two watercolours are structured similarly. Carl Larsson let his "Mére Morot" walk out of the picture. In the background, a high wall and ceilings of some nearby houses are visible. Like bright red balls, the pumpkins shows here and there through the crop on the ground. Karin's woman is turned away from the viewer. She walks, as in Carl Larsson's picture, with her head down and watches her harvest. Her dress is simple, with a white headscarf wrapped around her hair and an empty basket on her arm. In the background, a landscape is visible. Karin used a soft brush guide where the details can only be guessed. The watercolour is an excellent example of her colour painting, where she primarily wanted to capture a feeling and convey an experience. Less pictorial in terms of character is Carl Larsson's painting. His absolute eye for detail is nicely balanced in the picture. The paintings have great stylistic similarities in addition to the motifs. Yet they look so different."

The approach seems to have brought mutual stimulation and brought them both forward artistically. The renewed power with which Carl resumed watercolour painting from the summer of 1882 would, a couple of years later, lead to great successes. At the prestigious Salon in Paris in 1884, he sold the watercolour "Dammen" to the French state.

For Karin, art developed in Paris. Although Carl remained in Grez, she chose to spend the winter and spring in the French capital. The time was devoted, in addition to lessons in French, to further artistic studies. The studies took place primarily at the Académie Colarossi and through lessons for the accomplished Belgian artist Alfred Stevens who, during the years 1880-1890, ran a painting studio in Montmartre, mainly for female students: "Today I have been praised by Stevens for my painting, he said that my model was the best of all those who painted "(letter to parents 8.3.1883).

After a visit to Sweden, with marriage in Adolf Fredrik's Church (June 12, 1883), the couple returned, via Paris, to Grez. Although Karin's life situation, as a newlywed mother, in future gave less and less room for further development in easel painting, the few preserved paintings from this period show technical skill and, unequivocally, artistic promise.