As was the case with most other Swedish artists of her generation, her painting stood closer to the French juste milieu painters than to most impressionists; nevertheless, the thickly applied paint she used to show specks of light on the white table cloth on her 1887 painting Frukostdags (Breakfast Time) (in Nationalmuseum, Stockholm) provoked one critic to comment that she had probably used the cloth to clean her brushes.