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The aim of this essay is to analyze, through a hermeneutic perspective, three decorative paintings of Curt Viberg: two ceiling paintings and a painted tiled stove, all three placed in the former home of Viberg and his family. Between the years of 1947 and 1964 the artist and decorative painter Curt Viberg and his family lived in a villa in the old town of Visby. Viberg left several paintings, fixed on walls, ceilings and a tiled stove, that still remain in his former home. The main issues of the study strive to enlighten where the paintings are placed in the house, why they have been placed there, as well as in what way the three paintings relate to Viberg’s private life and his work in general. Furthermore the essay explores however Viberg might have had a main purpose of the decorative paintings in the house. The study argues that the painted tiled stove connects to Viberg’s wife, the first of the ceiling paintings relates to Viberg’s paintwork in several swedish churches and the second ceiling painting relates to Viberg’s son. Viberg’s main purpose of the decorated interior might have been to create an artist’s home, to manifest his work and private life. The decorated house is, more certain, part of a trend to add an artistic air to the interior, along with the political tendencies at the time. The paintings in the house might also show Viberg’s strive for a higher social standing.