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Hilma af Klint Photo

Hilma af Klint Artworks

Swedish Painter

Born: October 26, 1862 - Solna, Sweden
Died: October 21, 1944 - Sjursholm, Sweden

Progression of Art

Primordial Chaos No.7 (1906-07)

Primordial Chaos No.7

Chaos No.7 is one of 26 works that make up the first series of the larger Paintings for the Temple cycle, entitled Primordial Chaos. This primary sequence appropriately investigates origin and the primordial essence of the universe in all of its manifestations. Here for example we are confronted with a circular object that could at once be flying or floating. We could be witnessing a space ship from another galaxy, but equally an emerging moth or soaring kite. Indeed, the artist's drive towards union is further emphasized by the fact that this series is also referred to as the 'WU' series, where W represents man and matter, and U stands for woman and the spiritual. Following this line of interpretation, Af Klint developed her own language whereby the color blue represented the male and yellow, the female. When the two colors combine they create a harmonious green, implying that marriage of polarity is spiritually important.

This work and others in the series recall images of fertilization, snapshots of the moment of creation when the sperm meets the egg. Af Klint records in one of her notebooks that both the snail and the spiral represent for her development or evolution. An earlier work in the same series, Chaos Nº2 portrays a series of constellations and stars immersed in a vast atmosphere that grows from day to night. For the art critic Mark Hudson the artist's use of symbolism makes the work "feel closer in spirit to much later Surrealism than to abstract art per se". A similar approach is defined by art critic Jonas Magnusson when he claims that "Af Klint's abstraction does not abandon reality but instead emphasizes it, releasing it "in the form of messages or transmissions on new frequencies, data that is visualized through different signs, words, symbols, forms, colors, diagrams".

Oil on canvas - Hilma af Klint Foundation

No. 7, Adulthood (1907)

No. 7, Adulthood

No. 7 painting, of the The Ten Largest series of the Paintings for the Temple, is at once meditative like an ancient mandala (a geometric pattern of Buddhist and Hindu origin said to represent a microcosm of the whole universe), and dynamic like a changing piece of music. The large painting, over three meters in height and two meters wide, is composed of free-flowing organic forms of different sizes and colors (bright yellow, red, green, light blue, and white) set against a lilac background, punctuated by lines at once diagrammatic and scripted. Likely inspired by af Klint's botanical studies, the large yellow form is reminiscent of a bloom emerging from a bulb. Along these lines, art critic Adrian Searle claims that "af Klint was also influenced by Darwin, by the ways nature's forms and plant growth are dictated by mathematical progression". These forms, enriched by circling words and stylized letters (for example the white 'h' located on the bottom left corner), establish further levels of symbolism and metaphorical understandings. For Mark Hudson, these "curving shapes and cryptic inscriptions - 'sox, sax, sex' or 'eros wu' - hint at suppressed eroticism".

Painted on paper, on the floor of the studio and then pasted onto a canvas, af Klint's technique looks forward to a preference for large scale shared by the Abstract Expressionists, and in general, by more men than women. This said however, pattern based repetitive art making is something long since practiced by aboriginal painters, and also brings to mind the colossal floral based canvases by French painter, Séraphine Louis. Each painting in af Klint's series, ten in total completed in four months, illustrate the different phases of human life including childhood, youth, maturity, and old age. All of the canvases are abundant with great generative quality. There are many references to birth and to growth with all of the different symbols moving together, at once separate, and connected parts of a whole.

The audience standing before the works becomes privy to the dance of life. The tone shifts slightly as we move through the cycle of works. The 'childhood' works appear cellular, making reference to the moment when the sperm meets the egg and biological division occurs. In 'youth' the colors are brighter and additional swirls create strong feelings of flux and dynamism. The symbols in 'adulthood' are weightier with great intent of purpose, whilst the 'old age' canvases are the most poetic. Those last two paintings in the series reveal tiny simple seeds that grow into complex 'spriograph' discs. All of the flurry and noise of the previous phases of life has gone quiet, with introspection revealed at its most assured and most beautiful.

Oil and tempera on paper and canvas - Hilma af Klint Foundation

Evolution, No. 12 (1908)

Evolution, No. 12

The Evolution series is also known as the 'Seven-Pointed Star' series, which in the Christian tradition exists as a symbol of protection; the seven points of the star refers to the perfection of God and at the same time to the seven days of the creation story. In this canvas the creation story is referenced further through the presence of Adam and Eve. The woman is dressed in af Klint's signature female yellow, whilst the man has appropriately blue robes. The couple are taunted by two large black serpents making reference to the snake in the Garden of Eden that tempted humans to eat the forbidden fruit from the tree of knowledge. Swimming sperms and balancing eggs show the viewer that the man and woman are in the process of physical reproduction as well as spiritual union.

Throughout this series, abstraction and figuration co-exist and are presented without hierarchy. There appears to be a shared goal to protect the egg, and the egg becomes representative not only of the beginning of new life but also as the object sought after by an alchemist in search of enlightenment. In other works, there is further repetition of shells and spirals and also a lot of almond shapes. Af Klint wrote of in her notebook that the almond shape arises when two circles overlap and is called the 'vesica piscis', an ancient symbol for the development towards unity and completion. There are traces of 'The Swan' series from the wing-like base that supports the colorful petal central disc in this work, and also the introduction of the religious iconography further explored in 'The Dove' paintings.

In other ways, the series also echoes the scientific quest of the time for a deeper understanding of man's evolution and place in the world, particularly as developed by the naturalist scientist Charles Darwin. In another painting from the same series, a figure with outstretched arms and beautiful proportionality bears striking resemblance to the figure of the Vitruvian Man (1490) by Leonardo da Vinci. The Evolution works acknowledge beyond doubt that af Klint focused on art, science, and religion simultaneously.

Oil on canvas - Hilma af Klint Foundation

The Swan, No. 1 (1914-15)

The Swan, No. 1

The Swan (Nº 1) portrays two flying swans, in a black and white yin/yang mirror image; the birds are united by the touch of a wing and by the meeting of their beaks. In the spirit of ancient Chinese symbolism, the image reveals how seemingly contrary forces are in fact complementary. Nevertheless, there is a sense of antagonism in the work that well expresses that union can be a struggle, especially between humans. Af Klint's signature colors, blue and yellow, are found on the beak and flippers of the creatures to confirm that this is a work about the striving for balance between the sexes. The painting that follows this one in the same series, The Swan No.2, sees the swans thrust together and the color created between them is this time red and not green. The redness encircles the two birds and furthermore, drips like blood from the black, 'female' bird's wing. If red signifies passion and perhaps reproductive force, the suggestion is made that this experience can negatively obliterate female energy.

Indeed, more than in other series under the umbrella of Paintings for The Temple there is struggle at work between the swans, the conflict between the heavenly and the underworld, between good and bad, and peace and war; many other paintings that take place in The Swan series depict targets (as in the colored surrounding circles to be aimed at in combat practice). Beyond their renowned strength and protective tendencies, swans are universally deemed ethereal, symbols of transcendence, and a sign of completion in the alchemical tradition.

When Klint created these works, after a four-year gap in painting, she no longer experienced such acute and involuntary guidance as she had done before. This led her away from more automatic paintings techniques and towards a more researched, thoughtful, and constructed approach. Despite this more rational view, the underlying connection with the spiritual world is still very much present, especially through the Anthroposophical spiritual theories of Rudolf Steiner that deeply interested Af Klint at the time. Critic Mark Hudson claims that "there's a sophisticated visual intelligence" and "something timelessly enigmatic'' in the works, "which makes it hard to believe they can have been created as long ago as 1915".

Oil on canvas - Hilma af Klint Foundation

The Dove, No.5 (1915)

The Dove, No.5

The Dove series is the most intimate and tender of all of the series that comprise the larger body of Paintings for the Temple. Following on from The Swan, the series once again borrows it's title and some of its imagery from a bird, suggestive that winged creatures help to unite the duality of upper and earthy realms. This time though, the struggle of the swan has completely transformed into the peace of a dove. In this work, the dove is painted clear and pronounced. The color red is again prominent but not as a force for disruption but instead one of joy. Not obvious on first viewing, but upon a closer look, a miniature 'holy family' is encased in the dove's feathery whiteness. The man is yellow, the woman blue, and the baby is red as the gift of human passion. The birds claws are also painted in the three primary colors. Overall, this painting presents the state of otherworldly spiritual union as a simple and tangible everyday possibility.

Aside from this work, others in The Dove series typically include a circle and/or a heart. The circle is no longer a vulnerable target, but instead becomes a trusted global shield. In the first painting of the series, a rainbow forms the base of a circle while a heart rests within and a spiraling double helix shape divides the painting in two. Noteworthy in all of af Klint's works, is this powerful combination of poetic musings on love with motifs from natural biology and scientific advancement. In other paintings within the series, the heart and circle continue to recur alongside the artist's use of miniature figuration. Tiny lovers appear as small but integral parts in a larger universe and a woman dressed in armor fights a dragon connected to the echoes of patriarchy. Interpreted as a self-portrait of af Klint, the warrior now peacefully confronts gender inequalities that had previously induced anger in The Swan series.

Oil on canvas - Hilma af Klint Foundation

Altarpiece, nº1 (1915)

Altarpiece, nº1

Fittingly as the final pieces for the Paintings of the Temple, Af Klint produced three large Altarpieces. Looking back to an earlier golden age (and forwards to another one), the painting brings to mind an Egyptian temple, which using a highly developed intuitive intelligence, was built in line with the rising and setting sun. The 'pyramid' is an equilateral triangle divided into rainbow building block sections, with a run of oval discs adding more stability as a spine down the centre. The 'sun' rises above, and all of the saturated highly colored shapes are set against a black background. Each one of these wide spectrum of colors has symbolic meaning within Theosophical and Anthroposophical spiritualist theory. Furthermore, the triangle is an ancient symbol which "points towards enlightenment, connecting the material and the spiritual worlds", as suggested by the Serpentine Pavilion's description of the work.

For af Klint, these were instinctively produced works that possessed spiritual messages in need of decoding. Art critic Adrian Searle claims that the works are "diagrams and abstractions from ideas - not wholly abstract, more representations of elements of an unseen world, and of invisible forces". One possible spiritual interpretation of the work, is that the triangle represents humanity reaching up towards heaven, which is the underlying journey of all spiritual life. Another understanding, arrived at through af Klint's knowledge of Theosophical theories, is that the work depicts the descending of spirit into matter, and matter ascending into spirit. The preface to the catalogue of the Hilma af Klint exhibition at Moderna Museet in Stockholm, written by Daniel Birnbaum, Ann-Sofi Noring, and others, states that "No one painted like this at that time: remarkable color combinations, monumental formats, shapes that are once both organic and otherworldly" emphasizing the transcendental essence of the works (not easy to articulate entirely in words) and the importance of interpreting the works as such.

Oil on canvas - Hilma af Klint Foundation

Parsifal, nº1 (1916)

Parsifal, nº1

Parsifal presents a spiraling tunnel of darkness stretching inwards to a central, distant, and piercing white light. As part of a wider series, all of the works collectively contemplate the quest for knowledge. The title, Parsifal, was drawn from an Arthurian legend, as Parsifal was one of the Knights of the Round Table who devoted his life to the search for the Holy Grail with King Arthur. This is a story that has a central position in all esoteric teachings, representing the quest for enlightenment that drives and sustains metaphysical seekers. These works are deeply rooted in the artistic theories and in Rudolf Steiner's ideas of understanding man via connection to a spiritual dimension.

The drawing abandons highly defined 'busy' geometric compositions to instead focus on a single image using formless flowing watercolor. Af Klint goes on to do the same more colorfully in 1922 when she depicts isolated ferns, ears of grain, and other plant matter. The spiral, depicted here, often in earlier works, and also in later watercolors, has been discussed by art critic Jonas Magnusson, as "the symbol for a development from the center and outwards, but also a way out of and into a center". For him, it is the "theosophical metaphor for a connection between Eastern cycle and Western evolution".

Watercolor or Ink on paper - Hilma af Klint Foundation

The Teachings of Buddhism, No.3d (1920)

The Teachings of Buddhism, No.3d

Indeed, af Klint became interested in all world religions. Here she focuses on Buddhism, but does similar illustrations for Christianity, Judaism, and Islam. She begins the series with a circle divided into one black semi-circle and one white. From there, the areas colored black and white change according to which spiritual outlook af Klint is exploring. One such drawing, The Mahatmas Present Standing Point represents a circle subdivided into four black and white quarters. A Mahatma is considered a 'great soul' and a 'spiritual teacher' within the Theosophy movement. The series is entirely painted in black and white until the final two works illustrating Buddhism and Christianity, to which the artist adds color. There is strong resemblance to Kazimir Malevich's Suprematist canvases.

During the later decades of her life, as well as consistently researching and creating series on paper, af Klint made vast and detailed studies in notebooks, which she filled with descriptive notes and analysis on symbols and colors. Inside the notebooks, of which she completed 125 in her lifetime, she explains her artistic language in fine detail, fully aware that she wanted to craft the response to and interpretations of her work once it finally reached an audience.

Graphite and oil on canvas - Hilma af Klint Foundation

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Content compiled and written by Sarah Frances Dias

Edited and revised, with Summary and Accomplishments added by Rebecca Baillie

"Hilma af Klint Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Sarah Frances Dias
Edited and revised, with Summary and Accomplishments added by Rebecca Baillie
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First published on 05 Dec 2017. Updated and modified regularly
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