Mi mujer y mis hijas en el jardín

Completed around 1910, this canvas documents Sorolla's wife Clotilde and daughters in the garden setting that recurs throughout his mature domestic output. By 1910 Sorolla had achieved international celebrity following triumphal exhibitions in Paris, London, and New York, yet the garden remained a constant personal subject, insulated from the pressures of official commissions and public taste. The work belongs to a sustained meditation on the relationship between female figures and cultivated outdoor space — a subject linking Sorolla to Monet's garden paintings at Giverny, though Sorolla's light is sharper and more Mediterranean in character. Clotilde García del Castillo had been the artist's model, muse, and wife since 1888, and their shared domestic life permeated his art in ways that gave these canvases a quality of lived autobiography. The garden at the family's Madrid house was eventually rebuilt according to Sorolla's own design when the Sorolla Museum was established, reflecting how deeply intertwined his artistic and domestic identities had become by this period.

Sorolla organised the composition around contrasts between sunlit lawn and the shadow cast by garden architecture, allowing him to explore the full range from near-white to cool violet within a single unified space. Figures are loosely but confidently described, their white summer dresses functioning as reflectors that carry ambient colour into shadow.