Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
The Large Figure Paintings, nr 5 - Hilma af Klint
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
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Description
A 1907 abstract work by Hilma af Klint, featuring layered circular forms and geometric motifs in a balanced, spiritual composition.
The Large Figure Paintings, nr 5 is a significant work from the early twentieth century by the Swedish artist Hilma af Klint. Created in 1907, this piece belongs to a series that explores themes of spiritual evolution and the unity of opposites. Af Klint, who was trained at the Royal Swedish Academy of Fine Arts, moved away from traditional representational painting to develop a visual language rooted in her interest in theosophy and anthroposophy.
The composition is dominated by a large circular form set against a blue rectangular field. Within this circle, af Klint arranges a series of overlapping spheres and spiral motifs. The palette relies on a contrast between deep blues, blacks, and lighter tones of yellow and white. Two vertical white lines intersect the circular form, creating a sense of structure that balances the fluid, organic shapes. A pale, translucent figure-like shape extends from the lower centre of the circle, adding a vertical element to the otherwise rounded geometry.
This work demonstrates the artist's systematic approach to abstraction. Rather than focusing on the physical world, af Klint sought to map invisible forces and metaphysical concepts. The layering of transparent and opaque colours creates a sense of depth, while the repetition of circular forms suggests a rhythmic, almost musical quality. The painting reflects the artist's desire to communicate complex ideas through colour, line, and geometry. By avoiding direct references to nature, she created a space for the viewer to engage with the work on a conceptual level. The painting remains a primary example of early twentieth-century abstraction, produced well before the movement gained wider recognition in the international art world. Its clarity of form and deliberate colour choices provide a window into the artist's private, visionary practice.
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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)
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The Large Figure Paintings, nr 5 - Hilma af Klint
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Hilma Af Klint
Hilma af Klint was painting abstract art in 1906. Kandinsky's first abstract works are generally dated to 1910 or 1911. Malevich and Mondrian came later still. She predated them all by years, and nobody knew, because she stipulated that her work should not be shown until twenty years after her death.
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.
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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The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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