Chaos, Nr. 2 - Hilma af Klint
Archival giclée
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Description
A dynamic, early abstract work by Hilma af Klint, featuring swirling cosmic forms and energetic brushwork in a palette of deep blues and yellow.
Chaos, Nr. 2 is a work from the early twentieth century by the Swedish artist Hilma af Klint. It belongs to a period of experimentation where the artist moved away from traditional representational subjects to explore spiritual and cosmic themes. The composition features a central, swirling form that suggests a duality between light and dark, reminiscent of ancient symbols of balance. Two yellow stars act as anchors within the fluid shapes, connected by a distinct beam of light that cuts across the canvas. The background is a textured field of deep blues, blacks, and muted greys, which provides a sense of atmospheric depth.
Af Klint applied the paint with visible, energetic brushwork, creating a sense of movement that aligns with the title. The streaks of orange and red across the lower and right sections suggest cosmic debris or energetic discharge, adding to the sense of primordial activity. Unlike the rigid geometric structures found in some of her later series, this piece retains a more organic, fluid quality. The work reflects the artist's interest in theosophy and anthroposophy, systems of thought that sought to map the unseen forces of the universe. By visualising these concepts, af Klint created a unique visual language that predates the formal emergence of abstract art in Europe. This print captures the texture of the original oil application, allowing for a close examination of the artist's mark-making and the layered application of colour.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Chaos, Nr. 2 - Hilma af Klint
Artist Biography
Hilma Af Klint
She was born in 1862 into a naval family in Stockholm. She showed early ability in both mathematics and botany, studied at the Royal Academy of Fine Arts, graduated with honours in 1887, and established herself as a conventional painter of landscapes and portraits. She also worked as a scientific illustrator, producing botanical drawings of fungi for a book that was never published. In 1919 and 1920 she drew flowers almost daily, creating jewel-toned watercolours with the precision of a naturalist who knew when each species bloomed.
The abstract work came from a different source. She attended her first seance at seventeen. In 1896 she formed a group called De Fem (The Five) with four other women: Anna Cassel, Cornelia Cederberg, Sigrid Hedman, and Mathilda Nilsson. They contacted what they believed to be spirit guides from another dimension and kept meticulous notes. In 1906, aged forty-four, she received instructions during a seance to create paintings for a Temple. She never understood where or what this Temple was, but she began.
The Paintings for the Temple series, 193 works made between 1906 and 1915, includes compositions that are completely abstract. She used a systematic colour symbolism: blue for femininity or spirituality, yellow for masculinity or intellect. Spirals, circles, and intersecting lines represented spiritual forces or natural processes. Where Kandinsky's abstraction looked inward to the artist's own psychology, af Klint believed astral spirits were working through her hands.
She died in 1944. The embargo lifted in 1964, but the work was not shown publicly until 1986. In 2018, the Guggenheim mounted Hilma af Klint: Paintings for the Future. It drew over 600,000 visitors, the most attended exhibition in the museum's history. She left behind more than 1,200 paintings and thousands of pages of notes.
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