He was born as Carl Wilhelm Emil Andersson, son of lieutenant August Emil Sebastian "Mille" Andersson (1843-1910) and his wife Walborg Alfhild Maria Tisell (1846-1879), at Lagga outside Uppsala in 1875.  In 1897 he made what he thought would be a temporary stop in Paris on his way to Chile, where he was due to manage a school of gymnastics. However, he remained in Paris, where he studied art, working in Auguste Rodin's studio and slowly gaining recognition as a sculptor. In 1904 he and Olga moved to Munich.
Two years later they settled in Sweden, buying property on Herserud Cliff on Lidingö, a large island near Stockholm. Millesgården was built there between 1906 and 1908 as the sculptor's private residence and workspace. It was turned into a foundation and donated to the Swedish people in 1936.
In 1931, American publisher George Gough Booth brought Milles to Cranbrook Educational Community, in Bloomfield Hills, Michigan, to serve as his sculptor in residence. Part of Booth's arrangement with his principal artists was that they were expected to create major commissions outside the Cranbrook environment.
Sculpture at Fort Christina
In 1938, for the 300th anniversary of the founding of New Sweden, the country commissioned a sculpture by Milles featuring a replica of the Kalmar Nyckel, the ship which originally brought the Swedish colonists to America. The sculpture is located at Fort Christina in Wilmington, Delaware, near the landing site where the colonists arrived in 1638.
In America he is best known for his fountains. Milles's fountain group The Wedding of the Waters in St. Louis symbolizes the Missouri and Mississippi Rivers merging just upstream. Commissioned in 1936 and unveiled in May 1940 to a crowd of about 3000 people, the fountain caused a local uproar because of its playful, irreverent, naked, and nearly cartoonish figures, and because Milles had conceived the group as a wedding party. Local officials insisted that the name be changed to The Meeting of the Waters.
Milles and his wife returned to Sweden in 1951, and lived in Millesgården every summer until Milles's death in 1955. They spent winters in Rome, where the American Academy had supplied them with a studio. Milles and his wife, Olga, who died in 1967 in Graz, Austria, are buried in a small stone chapel, designed by Milles, at Millesgården. Because Swedish law requires burial on sacred ground, it took the assistance of the then reigning Gustaf VI Adolf to allow this resting place.
The Sunsinger, National Memorial Gardens, Falls Church, VA
Triton Blowing a Shell, Mayo Clinic, Rochester, Minnesota
Jonsson, Ann, « D'un mythe à l'autre : L' 'Europe' de Carl Milles et sa symbolique en Suède », in D'Europe à l'Europe, II. Mythe et identité du XIXe s. à nos jours (colloque de Caen, 1999), éd. Rémy Poignault, Françoise Lecocq et Odile Wattel - de Croizant, Tours, Centre Piganiol, coll. Caesarodunum, n° XXXIII bis, 2000, p. 157-162.
Kvaran, Einar E., An Annoted Inventory of Outdoor Sculpture in Washtenaw County (Masters Thesis. 1989)
Liden, Elisabeth, Between Water and Heaven, Carl Milles Search for American Commissions, (Almqvist & Wiksell International, Stockholm, Sweden 1986)
Martenson, Gunilla, A Stockholm Sculpture Garden (New York Times, Dec. 27, 1987)
Nawrocki, Dennis and Thomas Holleman, Art in Detroit Public Places, (Wayne State University Press, Detroit, Michigan 1980)
Piland & Uguccioni, Fountains of Kansas City, (City of Fountains Foundation 1985)
Rogers, Meyric, Carl Milles, An Interpretation of His Work, (Yale University Press, New Haven, Connecticut 1940)
Taylor, Askew, Croze, et al., Milles At Cranbrook, (Cranbrook Academy of Art, 1961)
Westbrook, Adele and Anne Yarowsky, Design in America, The Cranbrook Vision 1925-1950, (Detroit Institute)