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Hilma af Klint

Discover the visionary artist disrupting art history

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Munsö

In 1917 Hilma af Klint moved to a studio residence large enough to house The paintings for the temple, on the island of Munsö, west of Stockholm. Here she ceased producing art as a spiritualist medium and adopted a more analytical approach to her art and writing.

During this period, af Klint sought to understand the importance and meaning of the imagery in her paintings. She documented and reflected on her earlier output, while also commencing new bodies of work in which representational images, abstract shapes and texts join in schematic arrangements influenced by scientific and occult diagrams.

Once again, af Klint closely observed the natural world, as she had done for her botanical drawings of the 1890s but with new tools of analysis. Rather than focusing on the purely physical attributes of plants and small creatures, she sought in her notes and drawings to chart their life-force and spiritual energy.

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Installation view of the Hilma af Klint: The Secret Paintings exhibition at the Art Gallery of New South Wales, 12 June – 19 September 2021. Photo: AGNSW, Jenni Carter © AGNSW

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Hilma af Klint ‘Book no 10 (Group X, Altarpieces)’ undated. Courtesy of The Hilma af Klint Foundation, HaK1180.

Hilma af Klint Book no 10 (Group X, Altarpieces) undated

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Installation view of the Hilma af Klint: The Secret Paintings exhibition at the Art Gallery of New South Wales, 12 June – 19 September 2021. Photo: AGNSW, Jenni Carter © AGNSW

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Hilma af Klint ‘Flowers, mosses and lichens’ 1919–20. Courtesy of The Hilma af Klint Foundation, HaK588.

Hilma af Klint Flowers, mosses and lichens 1919–20

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Hilma af Klint ‘A work on cereals: oats’ 1920. Courtesy of The Hilma af Klint Foundation, HaK546.

Hilma af Klint A work on cereals: oats 1920

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Hilma af Klint ‘Violet blossoms with guidelines’ 1919. Courtesy of The Hilma af Klint Foundation, HaK457.

Hilma af Klint Violet blossoms with guidelines 1919

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