In the beginning of 1890, Zorn moved to Paris where he opened a studio at 71 boulevard Clichy. In a series of oil paintings, he depicted the city and its surroundings. Zorn remained with Edefelt during the spring, a time that was beneficial to Edefelt in more than just economical ways. This period comes to be of decisive importance to Zorn's works of art, but also for his outward appearance.
The years in Paris 1888-96 made him internationally well known. He met that times great painters and sculptors. Zorn was very outgoing and had it easy to get in contact with people and he showed familiarity with the ways of the world.
Later that spring Anders participated in an Art exhibition on Blanchs art gallery in Stockholm. During the summer he did a trip to the Nordkap (Norway) where he dedicated Nordkap i midnattssol to Mrs. Rikoff.
In the autumn in Stockholm, the city's embankments and watercourses was getting Zorn's attention, among others the big oil painting Utsikt från Skeppsholmskajen and the watercolour of the American warship Baltimore which on the 14 of September anchored at Stockholm's ström, bringing the remains of John Ericsson.
On October Zorn was back in Mora and during that time he did the watercolour suit The fair at Mora. Back in Stockholm later that autumn, he did a series of oil paintings with motif from breweries. Towards the end of October, he participated in the Artists Associations exhibition with a small, but qualitative collection of paintings from Lofoten (Norway) and Mora.
As the first non- German, Alfred Lichtwark gave Zorn the commission to paint a view over Hamburg as a part to enrich the collections at the Kunsthalle with local patriotic inspired paintings. Anders did several watercolour sketches and the final version Hamburgs hamn was dated the following year.


The first six months of 1891 Zorn stayed in Paris but the summer he spent in Mora as many times before. This time was artistically rewarding and among his new paintings, these can be mentioned: Midnight, Margit, Opal and Sunday morning. On the Artists Associations exhibition in Stockholm the 3 of October, Zorn's Midnight courted everyone's eye.
The 25 Zorn received the second class Gold medallion for Im Freien at the Münchener Jahresausstellung.


Zorn's big project in the late winter of 1892 was Omnibus and it was benevolent received during that years exhibit. During the spring he participated in a big graphic art exhibition, organised by Durand-Ruel where he appeared with one of his mayor work in graphic art, Renan.
In the late summer, Nils Edward Hammarstedt superintendent of the Nordic Museum (Stockholm) visited Anders in the Zorn Manor. He now started to make The fair at Mora on a larger canvas.
During the autumn Zorn stayed in Stockholm preparing for The Chicago World Fair and he produced En skål i Idun. The 27 of December he and Emma travelled to Paris.


In the beginning of the year of 1893 Zorn arrived to New York for the first time and in April he etched a portray of the prominent art collector Henry Marquand. The trip continued to Chicago where he was the commissioner for the Swedish Art division during the Chicago World Fair, declared as open on the 1 of May by President Grover Cleveland.
Anders now met Isabella Stewart Gardner, who he would spend a lot of time with during the following years. He stayed for more than a year in America, and most of that time he did portraits on order.
Zorn was a person liked by the Americans and he made a lot of friends and patrons among the wealthy public. Through the year he did a whole gallery of prominent American men and women from the days when America became a superpower and it was at this time he made most of his fortune.
In September he worked on a portrait of Mrs Potter Palmer, ordered by the chairwoman of the American Women's Association for the World's Fair for the sum of 3000 $ and after that towards the end of the year Zorn returned to New York.


Zorn celebrated his birthday 1894 in Boston at Mrs Gardner's as a guest. In New York, the whole Swedish collection from the Chicago World fair was exhibited under supervision by The Society of American Artist. His paintings, Mrs Potter Palmer, Mr Thomas Wheeler and En skål i idun occupied an essential part of the exhibition.
Towards the end of February Zorn went back to Paris where he participated in the opening of The March Exhibit and in April he rested from paintings.
After a short visit in Mora, he spent the summer on Dalarö together with Christian Eriksson. The working speed was high and he did a couple of paintings: Femme au jupon rouge, Solnedgång, Skärgård, Frileuse, Sommarafton, variations of Une premiére and Efter badet.
Back in Mora during September, Zorn wrote in a letter to Mrs Gardner that he intended to build a house in Mora, Sweden.
Throughout the autumn Mr. and Mrs. Zorn travelled to Venice after an invitation from Mrs Gardner and made a stopover in Würzburg. The 22 of October Zorn completed the portrait of Mrs Gardner. After a tour in Italy, the Zorns returned to Paris in the beginning of December.


In the spring 1895 Zorn was in Paris where he was doing the work on Natteffekt. On May 15, he was awarded the Order of the Northern Pole Star for his work as commissioner at the Chicago World Exhibit.
On June 28 Zorn met the committee that was responsible for the Art Division for 1897 Stockholm Exhibit. The chairman Prince Eugen nominated Oscar Björk as commissioner and Carl Anton Ossbach to secretary of commission and Zorn wasn't pleased at all after the meeting.
The summer Zorn spent on Dalarö and the 6 of July Zorn and his friend Ralph Curtis did a voyage on the Baltic Sea with Zorn's boat the Mejt. He continued to work on his old motif Une Premiére and during this summer, he finished a painted ceiling for Carl Robert Lamm in Näsby Mansion north of Stockholm.
After a quick stop in Mora (September), he returned to Stockholm in November where Emma had an operation and rested at her mother's place.
During a visit in Gothenburg Zorn started the preparations for the etching of Makarna Fürstenberg. After that he went to Paris and in a letter to C A Ossbach of the 18 of December Zorn viewed his opinion on how to organise the work of judging at the Stockholm Fair of 1897. He also expressed his happiness that Von Rosen and Cederström resumed their work in the committee.
Towards the end of December, Zorn met up with Whistler in London, to be assured about his participation in the Stockholm Fair.


In the beginning of 1896, Zorn stayed at Woodlands where he continued his work on Faun och Nymf, after that he went to Paris. He now finished his Självporträtt med modell, which was exhibited on the Gallery during springtime.
Zorn stayed in contact with Sweden and he preferred to stay at Mora, in the neighbourhood of Siljan (lake) or in the archipelago of Stockholm during the summers. The urge of going home grew steadier and steadier and this year he finally took his bag and baggage and moved from Paris to Mora. He established an artist's Mansion, Zorngården - the Zorn Manor, for himself his wife and all friends from far and near whom would like to visit them. The Zorn Manor was partially decorated in July and the building of the Manor continued during the rest of the summer.
Zorn was now an established artist and he had been very successful. He had also become a public figure and was often discussed on the cultural pages and in the gossip columns. His homecoming did not mean an abrupt ending, on the contrary, of his international relations. He continued to make yearly trips abroad, participate in exhibits and portraying. At home, he dedicated himself in work for the benefit of his native home.
On June 30 Zorn was informed by the Ministry for Foreign Affairs that Umberto I had appointed him to Officer of the Royal Italian Order.
Well back in Paris in the autumn, Zorn portrayed the Russian railway magnate S. I Mamontov, at the same time Zorn's painting Natteffekt made a success at the Berlin exhibit. During late autumn, he began his second trip to America and in St. Louis, he portrayed Dr Taussig, Mr Adolphus Busch, Mrs Busch, Mrs Duncan Joy and Mrs Nugent.


In the beginning of 1897 Zorn was in New York and did a portrait of E R Bacon and his sister- in- law Mrs Walter Bacon.
The American sculptor Saint-Gaudens, told in a letter dated February 17 to his niece, that Zorn did an etching of him.
Zorn returned to Stockholm during April and on 15 of May opened the Stockholm Fair and he was a member in the B-jury that had to judge the 317 works of art.
The Zorn Manor's extension was completed during the summer and Zorn was absorbed by his work on Midsummer dance, the paint was probably still wet when it was transported to the ongoing exhibit in Stockholm.
In the middle of July Sergej Djagilev visited the Zorn Manor and later, in his introduction to the Scandinavian exhibition in St. Petersburg, he reported about his visit at the Zorn Manor.
When Midsummer dance was displayed at the Stockholm exhibit during September, Zorn gave permission that his painting could be reproduced to the benefit of the building foundation of Stockholms nation.
The 11 of October Zorn was appointed as a member of The Royal Academy of Fine Art in Copenhagen.
Zorn was represented with eight oil paintings at the Scandinavian exhibit in St. Petersburg. He was in Russia as a guest at Djagilves 4 of November and later he started to portray Princess Tenisheva. That portrait was never finished. Zorn had a headache. Later he insinuated that the Princesses was lesbian and that had been the obstacle. The 11 Zorn and Djagilves travelled to Moscow and the programs were intense and filled with activities. He finally returned home and spent his Christmas in Mora.


Most of 1898 Zorn was in Mora but during a visit to Stockholm he did the portrait of Prince Carl and later during that year he did the portrait of his Mother in the Zorn Manor.
Zorn was writing a letter to Charles Deering from Mora that said; that he had a visitor from Paris, Emile Bartlett, and a matrimonial crisis was now under way between Zorn and Emma.
In the beginning of December Zorn was heading towards Paris, and in late December, he started his third trip to America. He arrived in New York shortly before Christmas with the steamer Teutonic together with Edward Bacon and shortly after his arrival in the city, he visited Isabella Steward Gardner.


Zorn spent the spring (1899) and the early part of summer in America, working very hard and he felt he kept a working tempo that was high and he considered that he did not have time to go outside his own doorstep. At the turn of the year he did alteration on his painting of Mrs Bacon, he etched Keppel and prepared a trip to Mrs Gardner in Boston. During his stay in Boston, Zorn did four portraits: George Peabody Gardner, George Monks, Randolph Coolidge and John Chipman Gray.
At that time in April Zorn travelled around in America and visited among others, Princeton, St. Louis, New York, Chicago, Boston and Evanston. In this connection he did numerous of new portraits: the former President Grover Cleveland and his wife Frances Folsom Cleveland, Daniel Burnham, William Amory Gardner, Miss Grace Dana and Mr Saltonstall.
He started a dispute about an agreement with Henry Clay Pierce regarding a portrait of him, his wife and daughter.
In the beginning of the summer Zorn returned to Sweden, and for a short time, he was sick and stayed at Hotel Rydberg in Stockholm.
Emma had during the winter (when Zorn was in America) been very active in her social life and kept an eye on Zorn's interests for the upcoming of the Artists Associations at Helsinki Fair.
This summer Verner Von Heidenstam visited the Zorn Manor and Zorn was again contacted about the planned statue of Gustav Vasa in Mora. His original proposal of the statue, a model in clay, was to be seen during the autumn in the Zorn Manor.


In January 1900 he stayed in Mora equipping his studio and did two versions of Madonna. In the middle of March, Zorn arrived to Paris as the commissioner for the Swedish Art division at the World exhibit. During his time in Paris, he made a trip to Spain and visited Madrid and Barcelona. Towards the end of July, the press announced that Zorn had been rewarded with the Médaille d'honneur, the votes in favour were 46 out of 53.
Back in Mora during late summer Zorn expressed himself in a report about his native home interest, uttered his disappointment over the town plan in this small community, that it had been vandalised to a chessboard shape and that the restoration of Mora church lacked reverence.
Zorn made a stopover at Hugo Reisinger an Art collector and entrepreneur in Berlin and continued to Paris where he worked for a couple of weeks with the portrait of Mrs Cameron. At the same time, he prepared for the statue of Gustav Vasa. In a letter to Emma, Zorn wrote that he received an estimate of 10.000 francs for the enlarging and casting of the three-meter statue, but then he had to have a meter high model of plaster.
In October 7 Zorn arrived in New York, for the fourth time and he continued to Pittsburgh where he was a member of the jury in an International Exhibit in the Carnegie Gallery. The Zorns were reunited in New York in the autumn and she saw that Anders felt good and seemed to like it in America.


In the beginning of 1901, Zorn was an exhibitor at Durand-Ruel in New York. The collections were mostly portraits, nude studies and Omnibus. Emma returned to Sweden and Anders wrote her a letter saying he missed her.
In April 24 Zorn received Die Grosse Goldene Plakette at the international Art Exhibition in Dresden.
The dispute about the payment for the portraits of Mr Pierce, Mrs Pierce and Mrs Eben Richards (Pierces daughter) back in 1899 had for Zorn a successful conclusion. The invoice on 13.200 $ had been paid.
Zorn came back to Sweden just in time for the summer and he made a voyage with his new boat Mejt I, named after his half- sister, then back to Mora where he stayed the rest of the year. He was anxious about finishing his work on the statue of Gustav Vasa and Emma wrote to Elin Thegerström (Dec. 10) that he is working twelve hours a day.


In the early winter of 1902 in Mora Prince Eugen who celebrated Zorn on his birthday visited Anders. On this occasion, The Prince gave his hosts three paintings that were depicting the province of Mora; Zorn presented on his part the oil painting Kuver Maja to the Prince.
During spring, Zorn made a short trip to Spain where he again met Prince Eugen and they visited Madrid and Seville. The 11 of June Zorn was appointed to Knight Order of the Northern Pole Star, second class.
Zorn celebrated midsummer in Mora and started his voyage together with J.A.G. Acke abroad on Mejt I 11th of July, they had reached the Kalmarsund and the sailing trip continued to Simrishamn, Helsinborg, Varberg and Särö.
Later that autumn Zorn rented a studio at the corner of Drottninggatan and Bryggargatan in Stockholm and during Christmas, he was in Mora together with Stenhammar at the Zorn Manor. It was now that Stenhammar got his idea for the rhapsody Midwinter.


In February 1903, Zorn announced that he would leave the Artists Associations and on 7th the same month he became an honourable member of the Västmanland- Dalanation.
Together with Prince Eugen they were exhibitors at the Art society and the critics became attached to Zorn's freshly depicted native home motif, as was expressed in the painting Braskulla, there was also a sketch of the Gustav Vasa statue.
In the end of March he started his trip to Eastern Europe and made a stopover in Berlin where he dined with Liberman, Leistikow and Cassier before he continued to Danzig.
The 3rd of April the Swedish National Museum decided to buy Zorn's Midsummer dance, for 10.000 SEK.
In Warsaw, he visited the Jewish neighbourhood and the horse market; he proceeded to Krakow where he was 14 of April. Next stop was Vienna, where he attended the Art museum but he was disturbed by the crowdedness of the paintings.
Towards the end of April he arrived to Budapest, where he heard that his Madonna maybe would be exhibited, this later occurred.
In the beginning of May he was in Venice, where he was a guest at the prominent art specialist and superintendent for The Berlin National Museum, Hugo Von Tschudi. The journey continued north via Munich to Paris.
On the 11 of July, at the same day Zorn was appointed Knight commander of the Northern Polar Star Order second class, the statue of Gustav Vasa in Mora is inaugurated. He purchased the Risaloftet and moved it to the Zorn Manor. The Risaloftet was placed in connection to the other log cabin (from Fåsås) that had been adapted as a studio.
Zorn was an exhibitor in the Artists Associations summer exhibit in Helsinborg.
During the summer of 1903 he made a voyage with Mejt and on August 2 he was invited to dinner at Oscar II in Drottningholms Slott (Stockholm).
Later this year he was an exhibitor at the Artists Associations Grand exhibit at Charlottenborg where Zorn showed the portrait of Prince Carl and Mother among others, but the critic Viggo Stuckenberg wrote less pleasing things about Zorn.
On 17 of November, Zorn arrived to New York for the fifth time; he left immediately for Boston to Isabella Stewart Gardner. Her new Art mansion, Fenway Court was completed and it made a great impression on Zorn. During Christmas at the Deerings in Chicago, he did the portraits of James Deering and Charles Deering.


In the beginning of the year of 1904 Zorn returned to New York and continued to portray wealthy people. It was now that he did the portrait in colossal format of Charles T. Barney. During February Zorn was invited to a reception at The White House and in Washington he had the opportunity to closer study the President Theodore Roosevelt and it is probably at this time he made the preparations for his etching of the President.
In March Zorn made a trip westwards over the Rocky Mountains and Sierra Nevada. In a letter to Emma he expressed, that nothing has made such an impression on me, grandiose and charming after his arrival to San Francisco. In Pasadena, Zorn portrayed the inventor and industrial leader R T Cane and his wife Emily Crane.
In April, Zorn was in Evanston and portrayed Richard F Howe and Senator Mark Hanna and Mr Brookings.
On the 14 of March Zorn became a member of Königliche Akademie der Künste and at the end of March he returned to Sweden.
In the summer, Zorn made a voyage with Mejt I together with his childhood friend Gustaf Bolinder and they passed by Marsstrand, Simrishamn and in the early days of August they arrived in Kalmar.
The construction of the Wilderness studio in Gopsmor started in 1904 and was completed the following year.