Some people are truly ahead of their time. Renaissance man and famed artist Leonardo da Vinci was sketching designs for a helicopter around 1505, when he was painting Mona Lisa. And Apple’s legendary CEO Steve Jobs actually described the iPad in 1983 – decades before it was launched.
A more sublime rider against the laws of time is Swedish artist Hilma af Klint. Known as a pioneer of abstraction she dared to explore the new spirituality of the late 1800s. She translated the occult, the esoteric and pieces of the Theosophical movement into magnificent visuals. She acted as a medium and many of her pieces are automatic drawings, in where she let spirits paint through her. When Hilma af Klint died in 1944 she stipulated that her abstract art should not be shown publicly until 20 years later, because she didn´t think the world was ready. However her big breakthrough didn´t come until 1986 when her art was shown at the exhibition The Spiritual in Art at Los Angeles County Museum of Art.
’When Hilma af Klint died in 1944 she stipulated that her abstract art should not be shown publicly until 20 years later, because she didn´t think the world was ready.’
Taking in Hilma af Klints art – as can be done at Moderna Museet in Stockholm this spring and at the Venice Bienniale later this summer – is a physical and spiritual experience, that I cannot imagine leaves anyone untouched. The large, often detailed canvases seem to glow, they speak to you in a number of languages and layers. The world – her world – is presented in bright orange, pale pink, midnight blue and a rainbow of other colors, often juxtaposed. The abstract shapes makes you think of an organic micro- (or macro-) cosmos, but present are also geometric shapes such as the equilateral triangle, the circle, the cross and the six-armed star. Letters and mystic signs or codes can also be found.
In touch with masters
The story of Hilma af Klint begins at Karlbergs Castle in Stockholm where she was born in 1862. Early in life she developed a connection with nature and her father, a famous naval commander, taught her the principles of mathematics. In essays she has been described as a silent youth but full of willpower. She started her art studies at Tekniska Skolan in Stockholm (later Konstfack), then she took lessons in portrait painting and at 1887 she graduated from the Royal Academy of the Fine Arts. She painted rather traditional, naturalistic portraits and landscapes.
But at the same time she embarked on an inwards journey. Af Klint attended seances where mediums came in contact with the dead. In 1896 she and four other women formed The Five, a group that made contact with ’high masters’ from other dimensions. The activity of The Five came to highly influence her work in the studio near Kungsträdgården in central Stockholm.
In the early 1900s she decided to focus fully on abstract imagery, independently paving a way that also Wassily Kandinsky, Piet Mondrian and Kazimir Malevich would take. According to Moderna Museet, she expressed her ambition to execute paintings that could convey the evolution, describe the eternal principles and laws and the immortal side of man in 1904.
Thereafter she began working on The Temple, one of her central works. It consists in several series, in total 193 paintings, and af Klint says she was guided by a spiritual dimension while performing many of them. She called her work mediumistic, during seances instructions for the paintings were written down and sketches were made in a notebook that was kept as a secret for all but a few. She didn´t finish The Temple until 1915, when she did three large altarpieces. In the series is also The Ten Largest – huge paintings that illustrate the four ages of mankind: childhood, youth, maturity and old age.
Her next project was The Swan, a series of 24 paintings that abstractly show the struggle between a black and a white swan. It was aimed to point at the union between opposites such as male and female, black and white, light and dark. She also dictated her thoughts on spirituality and the soul, a text that – when typewritten – consisted in over 1200 pages. Later in life she turned her gaze back to nature. Beautiful, soft sketches seemingly depicting the secret life of plants are shown from her elder years.
Hilma af Klint was a medium and she was also part of the Theosophical Movement and later theAnthroposophical Movement. Theosophy is a doctrine that incorporates various religions and spiritism as different expressions of the one truth, namely that divinity is inherent in every being. Anthroposophy is a life philosophy based on theosophy but with stronger Christian elements. Hilma af Klint and her lifetime companion Thomasine Andersson, a nurse who cared for af Klint´s blind mother before she died, started taking regular trips to Dornach in Switzerland in 1920. There they got to know Rudolf Steiner who founded the Anthroposophical movement. Hilma af Klint spent long periods in Dornach studying anthroposophy and attending his lectures. She became increasingly interested in colors and water paintings.
’If someone dumped all the paintings here in the foyer and said ’now they are yours’ we would panic. We wouldn´t know what to do with them and we wouldn´t have money to take care of them’
Daniel Birnbaum, head of Moderna Museet
Due to, or maybe thanks to, Hilma af Klint’s late breakthrough little research has been done on her art and few academic essays have been published. To me that is refreshing. I feel like I can get to know this brave, visionary and extremely creative women on my own, let it take time. Deep inside it feels like that’s what she wants.
But when I walk around the magic exhibition I also think of the somewhat sad irony of her legacy. In the early 1970s Moderna Museet rejected a donation of the more than 1000 paintings and 26 000 drawings af Klint left behind, art that is now owned by the conflict-ridden Hilma af Klint foundation. Today the same museum enthusiastically shows her work, but it still says it cannot take on the collection, which is in deep need of conservation and digitization.
– If someone dumped all the paintings here in the foyer and said ’now they are yours’ we would panic. We wouldn´t know what to do with them and we wouldn´t have money to take care of them, Daniel Birnbaum, head of Moderna Museet, said recently to daily Svenska Dagbladet.
– I would say that this is a great Swedish artistry in need of help.
At the same time voices are raised for a state-supported Hilma af Klint-museum, like thePicasso-museum in Paris or the van Gogh-museum in Amsterdam. Let´s hope both politicians and spirits can come to an agreement on that.
Words by Tina Magnergård-Bjers, journalist at the Swedish news agency TT – dedicated yoga practitioner, art lover and cross-country skier based in Stockholm.
Hilma af Klint at Moderna Museet, Stockholm until May 26, 2013 and at the Venice Biennale, Central Pavillion June 1 until November 24, 2013