Bruno Liljefors first studied at Katedralskolan for six years and then pursued further education at the Swedish Royal Academy of Fine Arts from 1879 to 1882.

The marriage ended with a divorce in 1895 at which time he married his first wife's younger sister Signe Adolfina Helena Olofsson (1871–1944).

[5] During the last years of the nineteenth century, a brooding element entered his work, perhaps the result of turmoil in his private life.

All his life Liljefors was a hunter, and he often painted predator-prey action, the hunts engaged between fox and hare, sea eagle and eider, and goshawk and black grouse serving as prime examples.

The influence of the Impressionists can be seen in his attention to the effects of environment and light, and later that of Art Nouveau in his painting of Mallards, Evening Wild Ducks, of 1901, in which the pattern of the low sunlight on the water looks like leopardskin, hence the Swedish nickname Panterfällen.

It was a great deal of work trying to position the dead hawk and the grouse among the bushes that I bent in such a way as to make it seem lively, although the whole thing was in actuality a still life.

[1]Such practices have sometimes led to criticism of Liljefors' work; Lars Jonsson has noted a "heraldisation" of the drama in Golden Eagle Chasing a Hare, 1904, which causes a departure from pure naturalism, and he deduces from the position of the eagle's wing feathers that it would have been gliding rather than turning in reaction to the hare as painted.

He also set a standard of identification with the landscape that substantially influenced the development of wildlife art in the twentieth century.