Via her brother, the painter Johannes Larsen, Christine Swane was included in a larger circle of professional artists. She was educated at the Royal Danish Academy of Fine Arts from 1898–1901 and was subsequently taught by artists such as Fritz Syberg, Jens Ferdinand Willumsen and Harald Giersing. Around 1910, she married the painter Sigurd Swane, but the marriage disintegrated in 1920. Unlike many other women in artist marriages at the time, Swane continued her career and development as an artist.

In the beginning, her vantage point was the naturalism of the Funen Painters, which can be seen in her early flower paintings. Later, she developed her own idiom, where especially her focus on surfaces and discreet use of colour, gave her a distinctive and quiet expression, as described in K. Pontoppidan's review in the Danish newspaper Politiken in 1919: “When looking at the individual paintings, one is delighted by the sensitive approach to colours and the decorative beauty they possess”. The motifs were found in the nearby surroundings in the form of still lifes with objects from the home being arranged on tables and in windowsills in a way that turns the mundane and conventional into something essential in terms of the artistic perspective. The green colour resonates throughout the artist's works, carefully aligned in several shades, and often juxtaposed with a skeleton of blue contour lines – and as in this summer day in the garden contrasted by small discreet red strokes. Swane's idiom is poetic, but precise, which makes her a sought-after artist on the auction market, especially in recent years.

There are several of Christine Swane's works in the Johannes Larsen Museum's collection. In 2018, the museum presented an exhibition entitled “GREEN”, the same year at Odsherred Art Museum and in 2019 at “Unheeded”, Rønnebæksholm.