If the paintings for the Temple were mostly oil paintings, she now also used aquarelle. June 1 — November 24, 2013. March 26 — May 15, 1988 Høvikodden Listasafn, Reykjavik, Iceland. All through her life, Hilma af Klint would seek to understand the mysteries that she had come in contact with through her work. Hilma af Klint assumed that there was a spiritual dimension to life and aimed at visualizing contexts beyond what the eye can see.
Press release from the Moderna Museet website. Hilma af Klint never dared to show her abstract work to her contemporaries. Quite apart from their diagrammatic purpose the paintings have a freshness and a modern aesthetic of tentative line and hastily captured image: a segmented circle, a helix bisected and divided into a spectrum of lightly painted colors. When Hilma af Klint had completed the works for the Temple, the spiritual guidance ended. The University of Chicago Press. This exhibition was the starting point of her international recognition.
They opened each meeting with a prayer, followed by a meditation, a Christian sermon, and a review and analysis of a text from the New Testament. The paintings often depict symmetrical dualities, or reciprocities : up and down, in and out, earthly and esoteric, male and female, good and evil. This work was never exhibited during af Klint's lifetime. September 19, 2008 — January 11, 2009 Centre Pompidou, Paris, France. The Russian exhibition shows paintings of Wassily Kandinsky 1866—1944. She showed an early ability in visual art, and after the family moved to Stockholm, she studied at Tekniska skolan in Stockholm today , where she learned portraiture and landscape painting.
Drawing Thought Foundación la Caixa, Barcelona, Spain. The artistic world of Hilma af Klint is impregnated with symbols, letters and words. Like many of her contemporaries, she was influenced by spiritual movements, especially spiritualism, theosophy and later anthroposophy. As Hilma af Klint discovered her new form of visual expression, she developed a new artistic language. Hilma af Klint The Swan, No.
February 28 — May 27, 2007 Gl Strand, Köpenhamn, Denmark. Later in life, Hilma af Klint came to live on a permanent basis at Munsö, an island next to Adelsö. Hilma af Klint Untitled Nd. The collection of abstract paintings of Hilma af Klint counts more than 1200 pieces. During the years 1882—1887 she studied mainly drawing, and portrait- and landscape painting. This can be seen in relation to scientific discoveries, such as x-rays that could reveal internal human organs, and electromagnetic waves that led to the development of radio and telephony.
It is clear that af Klint was prolific in her secretive world but it is hard to imagine how she managed to keep all these vast works hidden from view. It is a story of a female artist on the edge of the establishment — like the subjects of the earlier exhibits Women of the Avant-garde in 2012 and Yoko Ono in 2013 — and thus far she has not attracted much attention in art history. Hilma af Klint Tree of Knowledge 1913. Steiner initiated her in his own theories regarding the Arts, and would have a certain influence on her paintings later in life. For Hilma af Klint, her entire work was about conveying the messages she received, and to shed light on the great existential issues. In these idyllic surroundings Hilma came into contact with nature at an early stage in her life; and this deep association with natural forms was to be an inspiration in her work.
All of this would then be followed by a séance. Exhibition dates: 16 February — 26 May 2013. A woman artist whose work is still far too unknown to a wider public, Hilma af Klint eschewed representational painting as early as 1906. Hilma af Klint October 26, 1862 — October 21, 1944 was a Swedish artist and mystic whose paintings were among the first abstract art. There is also an older form of theosophy that is significantly different to the newer version. Photographer unknown Portrait of Hilma af Klint Nd. Today, there are many secret orders that claim to uphold the Rosicrucian traditions.
June 03 — August 20, 1995 1994 — 1995 Die Neue Wirklichkeit Abstraktion als Weltentwurf Wilhelm-Hack-Museum, Ludwigshafen, Germany. Her painting became more autonomous and more intentional. She embarked on an inward journey, into a world that is hidden from most people. Hilma af Klint felt she was being directed by a force that would literally guide her hand. When the boxes were opened at the end of the 1960s, very few persons had knowledge of what would be revealed.
The group of female artists The Five was engaged in the paranormal and regularly organized spiritistic séances. The Swan and the Dove, names of two series of the Paintings for the Temple, are also symbolic, representing respectively transcendence and love. Kandinsky moved away from Expressionism and gradually left visible reality behind. The artistic world of Hilma af Klint is impregnated with symbols, letters and words. November 04, 2006 — February 25, 2007 2006 Bara Färg — Färg som andlighet Only Colour — Co0lour as Spirituality Gothenburg Museum of Art, Sweden.
A considerable body of her abstract work predates the first purely abstract compositions by. Kandinsky, Malevich and Mondrian also explored a spiritual dimension. As a theosophist, he was striving for a purely spiritual expression of the eternal ideas beyond the visible world. As Hilma af Klint pursued her artistic and esoteric research, it is possible to perceive a certain inspiration from the artistic theories developed by the Anthroposophical Society from 1920 onward. I had no idea what the paintings were supposed to depict; nevertheless I worked swiftly and surely, without changing a single brush stroke. Hilma af Klint The Swan, No.