An 1890 etching by Swedish artist Anders Zorn depicting himself and his wife, Emma, in their studio. The work uses Zorn's signature bold line work to create light and shadow.

Anders Zorn produced this etching in 1890. It depicts the artist in his studio alongside his wife, Emma Lamm. Zorn is positioned in the foreground, holding an etching needle and looking directly at the viewer. Emma stands behind him, partially obscured by the shadows of the room. The composition relies on vigorous diagonal lines to define form and light. This technique is a hallmark of Zorn's printmaking, where he avoids traditional cross-hatching in favour of bold directional strokes. The work captures a private moment of artistic creation. Zorn's face is lit from the side, creating a strong contrast between the illuminated skin and the dark clothing. The background is rendered with dense dark lines that suggest the atmosphere of a dimly lit interior. Emma's presence is subtle. Her features are less defined than those of her husband, which directs the focus toward the act of drawing. The artist uses the white of the paper to represent the strongest light sources, such as the paper on the desk and the highlights on his forehead. Zorn was a master of the etching medium, often translating his painterly style into print. He used a limited palette of marks to suggest volume and texture. In this print, the paper itself provides the highlights, while the ink creates the depth. The relationship between the two figures is quiet and domestic. It reflects the partnership between the artist and his wife, who was a significant figure in his life and career. Emma often managed the business side of his work, allowing him to focus on his technical output. The etching was created during a period when Zorn was gaining international recognition for his skill in both oil painting and printmaking. His ability to suggest complex lighting through simple, repetitive strokes made his etchings highly sought after by collectors. This specific plate demonstrates his control over the copper surface, using varying pressure to achieve different tonal values. The result is a portrait that feels immediate and spontaneous, despite the technical precision required for the medium.