Today, Olivia Holm-Møller is considered one of the most significant female painters of the 20th century. However, it is only in recent years that her work has been rediscovered, and she has not occupied a prominent place in Danish art history nor the public's consciousness. Even in her own time, it could be infinitely difficult to be an artist and a woman: “”I've done the best I could, but I'm very worried about seeing the names on the Censorship, my work will probably by discarded.... There’s not much joy in submitting work to Charlottenborg again,“ she writes to her colleague Carla Colsmann on 18 February 1918, which is later formulated with a great – and probably necessary – degree of pragmatism: ”I have discovered that adversity is necessary. It hardens one’s resolve.”

Regardless of whether Holm-Møller bravely travels out into the world, tackles great universal and existential questions or, as she does here, tackles something more down-to-earth – the motifs are treated with intimacy, a spark and vigour.

Holm-Møller was educated at the Emilie Mundt and Marie Luplaus Art School and at the Royal Academy of Fine Arts in Copenhagen. Holm-Møller is also a member of Kvindelige Kunstner's society and exhibits with them on several occasions. She is represented in several museum collections including the National Gallery of Denmark, Vejle Art Museum, Ribe Art Museum, AROS and Funen Art Museum.