Discovering the Pioneering Spirit of Hilma af Klint
In the early 20th century, pioneering Swedish artist, Hilma af Klint, began creating a body of work that would only be appreciated in its full significance many years after her death. She is now celebrated as a trailblazer in abstract art, predating the likes of Wassily Kandinsky, Kazimir Malevich, and Piet Mondrian. Yet, for much of the 20th century, her groundbreaking contributions remained largely unknown. Today, Hilma af Klint’s visionary work is being rediscovered and celebrated, shedding light on a remarkable artist whose spiritual and artistic journey broke new ground in the art world.
Early Life and Education
Hilma af Klint was born in Stockholm in 1862. She showed an early talent for art and enrolled in the Royal Academy of Fine Arts at the age of 20, where she excelled in her studies. After graduating in 1887, af Klint established herself as a respected painter in Stockholm, working primarily in the naturalistic style that was popular at the time. However, her artistic journey took a dramatic turn following her involvement with spiritualism and Theosophy, movements that explored the connection between the physical and the spiritual worlds.
Spiritual Influence and The Five
Af Klint’s interest in spiritualism deeply influenced her work. In 1896, she and four other women formed a group called "The Five" (De Fem). They conducted séances and experiments in automatic drawing, believing they could communicate with higher spiritual beings. These experiences were pivotal for af Klint, leading her to explore new artistic expressions beyond the traditional boundaries of painting.
The works created during these sessions marked the beginning of af Klint’s departure from conventional art. She began to produce abstract compositions filled with symbolic forms, vibrant colours, and geometric shapes. These pieces were a visual representation of the messages and visions she believed were communicated to her by the spirits.
The Paintings for the Temple
Between 1906 and 1915, af Klint embarked on an ambitious project that would become her most famous body of work: "The Paintings for the Temple." This series of 193 paintings (including the above works) were intended to be displayed in a spiral temple, reflecting her belief in the interconnectedness of all life and the universe. These works are characterised by their large scale, bold colours, and intricate symbolism. They represent a radical departure from the naturalistic and representational art of her time, positioning af Klint as a true pioneer of abstract art.
Af Klint’s paintings from this period are filled with esoteric symbols and themes, including spirals, dualities, and botanical motifs. They reflect her deep engagement with spiritual and philosophical ideas, particularly those of Theosophy and Anthroposophy. Her work was both a spiritual practice and an artistic exploration, pushing the boundaries of what art could express.
The Ten Largest
One of the most notable series within "The Paintings for the Temple" is "The Ten Largest". Created in September 1907, the series of ten massive paintings, each over ten feet tall, represents different stages of human life—from childhood to old age. The works are characterised by their vibrant colours, abstract forms, and intricate patterns. "The Ten Largest" is a testament to af Klint’s ambitious vision and her ability to convey profound philosophical concepts through abstract art. These paintings stand out not only for their scale but also for their bold exploration of themes related to growth, development, and the passage of time.
Interestingly, each massive composition took only four days to paint. Following instruction from spirit guides, af Klint requested that Cornelia Cederberg – a fellow artist and member of the spiritualist group The Five – assist in their creation, though under af Klint’s direction.
Because of their size, the works were most likely created on the studio floor – a radical departure from the easel painting conventions of the day. Af Klint intended the paintings to be hung together in a spiral temple, creating what she described as a ‘beautiful wall covering’.
Hilma af Klint The Ten Largest, Group IV No. 5, Adulthood, 1907
Legacy and Recognition
Despite her groundbreaking work, af Klint’s contributions were largely overlooked during her lifetime. She exhibited her early, more traditional works, but her abstract paintings remained largely unseen by the public. Af Klint herself believed that the world was not ready for her art and stipulated that her abstract works should not be shown until at least 20 years after her death.
It wasn’t until the 1980s, more than 40 years after her death in 1944, that Hilma af Klint’s work began to receive the recognition it deserved. Major exhibitions in recent years, such as the 2018 retrospective at the Solomon R. Guggenheim Museum in New York, and more recently in 2021 in Australia at the Art Gallery of NSW have cemented her status as a pioneering figure in abstract art.
Hilma af Klint’s work challenges the conventional narrative of art history. Her visionary approach to abstraction, deeply intertwined with her spiritual beliefs, sets her apart as a unique and influential figure in modern art. As we continue to explore and appreciate her contributions, af Klint’s legacy inspires a reevaluation of the origins and development of abstract art. Her work invites us to consider the profound connections between art, spirituality, and the human experience.
This is first part in a new blog series covering the work of important artists around the world who influence my understanding of the world and the way I view it.