Hilma af Klint (1862-1944), a Swedish painter and mystic, is now considered a pioneer of abstract art, preceding famous figures like Wassily Kandinsky, Kazimir Malevich, and Piet Mondrian. However, for many years, her work remained largely unknown and hidden from public view. This was due to af Klint's own insistence that her paintings should not be shown until at least 20 years after her death, as she believed they would be misunderstood. Her work was not only revolutionary in its abstraction but was deeply rooted in spiritualism, esoteric philosophies, and the occult, making her artistic journey as enigmatic as it was groundbreaking.
The Occult Abstract Paintings by Hilma af Klint
Early Life and Spiritual Awakening
Hilma af Klint was born in 1862 in Solna, Sweden. She studied at the Royal Academy of Fine Arts in Stockholm, one of the first women to do so, and initially focused on naturalistic themes such as landscapes and botanical drawings. But her art took a radical turn in 1906 when she began exploring more abstract and mystical forms.
The turn towards abstraction was closely linked to af Klint's deep interest in spiritualism and the occult, popular movements in the late 19th and early 20th centuries. During this time, there was a surge of interest in the unseen worlds, including séances, Theosophy, and Anthroposophy. The desire to transcend the material world resonated with af Klint, who believed that art could serve as a medium to communicate with spiritual realms.
The Five: A Circle of Spiritual Seekers
A significant part of af Klint's spiritual exploration involved her membership in The Five (De Fem), a group of women artists and mystics who conducted séances and sought communication with higher spiritual beings. The group was formed in 1896 and met regularly to engage in spiritual practices, automatic drawing, and meditation. It was during these sessions that af Klint began to receive what she believed were messages from otherworldly entities—whom they referred to as "High Masters"—that guided her to create her abstract works.
This experience became a pivotal point in af Klint's career. She felt that she was a conduit, or a medium, through which spiritual knowledge could manifest visually. The mystical messages she received shaped her art, prompting her to produce work that she believed transcended the material realm and was intended for a future audience.
The Paintings for the Temple: A Spiritual Journey
The most significant body of work that emerged from af Klint's spiritual explorations is a series called The Paintings for the Temple, created between 1906 and 1915. This series of 193 paintings is often considered her magnum opus. These works were meant to be displayed in a spiral-shaped temple, reflecting her vision of spiritual ascension.
The paintings themselves are characterized by geometric shapes, vibrant colors, and organic forms that symbolize spiritual concepts like the evolution of the soul, the duality of existence, and the relationship between the physical and the metaphysical. Af Klint's use of circles, spirals, and radiant colors prefigured many of the abstract works that would later emerge in the 20th century.
For example, her Primordial Chaos series uses overlapping circles, ellipses, and symbols to represent the chaotic but fertile energy that underlies creation. The Ten Largest series, one of the most famous subsets of The Paintings for the Temple, portrays different stages of human life—childhood, youth, adulthood, and old age—through large-scale canvases full of swirling, vibrant patterns and symbols.
Symbolism and Esoteric Imagery
Af Klint's paintings are filled with symbols and forms drawn from spiritual traditions, Theosophy, Rosicrucianism, and other esoteric beliefs. Her works frequently include motifs such as spirals, snakes, shells, flowers, and wings, each carrying a specific spiritual significance. She used the spiral as a symbol of evolution and spiritual growth, while the snake often represented transformation and rebirth.
Her understanding of dualities also plays a critical role in her work. Many of her paintings explore themes of opposing forces—light and dark, male and female, matter and spirit. These dualities are represented through the use of contrasting colors and symmetrical compositions. In Group X, No. 1, Altarpiece, af Klint uses an upward-pointing triangle (often representing masculinity) and a downward-pointing triangle (femininity) intersecting, suggesting a merging of opposites in the process of spiritual evolution.
Af Klint also developed her own symbolic language, using letters, numbers, and abstract forms that functioned as a kind of esoteric code. This personalized symbolism added layers of meaning to her work, making them rich in metaphysical significance and inviting multiple interpretations.
The Role of Women in Spiritualism and Modern Art
Hilma af Klint's work also stands out for the way it intersects with the role of women in the early modern art movement. As a woman working at a time when the art world was dominated by men, af Klint's spiritual orientation allowed her to operate somewhat outside the traditional boundaries of the art establishment. Her connection to the spiritual realm gave her a sense of purpose that was not bound by the expectations of contemporary art critics or the market.
Her involvement with The Five and her spiritual practices offered her a form of creative agency and community that was rare for women of her time. It was within this context that she felt empowered to push the boundaries of what art could be and to explore abstract forms before her male contemporaries.
Rediscovery and Legacy
For decades, Hilma af Klint's contribution to abstract art remained obscured. After her death in 1944, af Klint left behind more than 1,200 paintings and 125 notebooks, with instructions that her work should remain hidden for at least 20 years. It was not until the late 1980s that her work began to gain attention through exhibitions that reintroduced her art to the world. Her first major retrospective took place in 2013 at the Moderna Museet in Stockholm, sparking renewed interest in her life and work.
The 2018 Guggenheim exhibition Hilma af Klint: Paintings for the Future further cemented her place in art history. It attracted a record number of visitors, many of whom were struck by the novelty and depth of her work. The exhibition not only highlighted her visionary abstract forms but also emphasized the spiritual dimensions of her art, which set her apart from other abstract artists of her time.
Today, Hilma af Klint is increasingly recognized as a visionary who anticipated key aspects of abstract art. Her work challenges the conventional narrative of art history, which often begins with Kandinsky's abstract paintings in 1910. Instead, af Klint’s legacy invites us to reconsider the origins of abstraction and the role of spiritualism in shaping the modernist impulse.
Conclusion: Art Beyond the Material World
Hilma af Klint's occult abstract paintings offer a unique blend of modernism and mysticism, reflecting a profound belief in the interconnectedness of art, spirituality, and the cosmos. Through her visionary works, she sought to express ideas that transcended the visible world, creating a visual language that remains as enigmatic as it is captivating.
Her work challenges us to rethink the boundaries between art and spirituality, inviting viewers to see painting as a gateway to higher knowledge. Today, as interest in her art continues to grow, Hilma af Klint stands as a testament to the enduring power of creativity, intuition, and the quest for spiritual understanding—qualities that continue to resonate with audiences seeking meaning beyond the material.
The next time you stand in front of an abstract painting, remember, that it all started as an occult message from Hilma Af Klint's Höga Mästare.
Comments