· no. 2a, the current standpoint of the mahatmas (nr 2a, mahatmernas nuvarande ståndpunkt), 1920...

https://www.guggenheim.org/event/event_series/hilma-af-klint-events

https://www.guggenheim.org/event/visionary-on-hilma-af-klint-and-the-spirit-of-her-time

https://www.guggenheim.org/event/music-for-the-temple-a-tribute-to-hilma-af-klint-by-john-zorn

https://www.guggenheim.org/event/event_series/curators-and-conservator-eye-tours

http://www.guggenheim.org/new-york

http://web04.echomail.com/web04/l.do?cid=60&mid=29888&e=xzhenjfxv~thttraurvz.bet&t=452175&~cid%3D60%26mid%3D29888%26fn%3DLIB121009091122GU67P%2Ehtml%26tn%3D%26ft%3Dstored%26rid%3D1%26mt%3D%26e%3Dxzhenjfxv%7Ethttraurvz%2Ebet

http://www.guggenheim.org/pressimages

http://www.guggenheim.org/pressimages

mailto:[email protected]

PRESS IMAGES

Hilma af Klint: Paintings for the FutureOctober 12, 2018–April 23, 2019Solomon R. Guggenheim Museum

Online Photo Service for Press Images

Images for current exhibitions may be downloaded free of charge through our website• Visit guggenheim.org/pressimages• Enter the following password: presspass• Select the desired exhibitionAll images are accompanied by full caption and copyright information.The publication of images is permitted only for press purposes and with the corresponding credit lines.Images may not be cropped, detailed, overprinted, or altered.E-mail [email protected] with any questions.

1 | Hilma af Klint: Paintings for the Future

Hilma af KlintThe Ten Largest, No. 7., Adulthood, Group IV, 1907Tempera on paper mounted on canvas315 x 235 cmStiftelsen Hilma af Klints VerkPhoto: Albin Dahlström/Moderna Museet

Hilma af KlintGroup I, Primordial Chaos, No. 16 (Grupp 1, Urkaos, nr 16), 1906-1907from The WU/Rose Series (Serie WU/Rosen)Oil on canvas, 53 x 37 cmThe Hilma af Klint Foundation, StockholmPhoto: Albin Dahlström, the Moderna Museet, Stockholm


Hilma af KlintGroup V, The Seven-Pointed Star, No. 1n (Grupp V, Sjustjärnan, nr 1), 1908from The WUS/Seven-Pointed Star Series (Serie WUS/Sjustjärnan)Tempera, gouache and graphite on paper mounted on canvas, 62.5 x 76 cmThe Hilma af Klint Foundation, StockholmPhoto: Albin Dahlström, the Moderna Museet, Stockholm

Hilma af KlintGroup IX/SUW, The Swan, No. 17 (Grupp IX/SUW, Svanen, nr 17), 1915 from The SUW/UW Series (Serie SUW/UW)Oil on canvas, 150.5 x 151 cmThe Hilma af Klint Foundation, StockholmPhoto: Albin Dahlström, the Moderna Museet, Stockholm

Hilma af KlintTree of Knowledge, No. 5 (Kunskapens träd, nr 5), 1915from The W Series (Serie W)Watercolor, gouache, graphite and metallic paint on paper18 1/16 x 11 5/8 inches (45.8 x 29.5 cm)The Hilma af Klint Foundation, StockholmPhoto: Albin Dahlström, the Moderna Museet, Stockholm

Hilma af KlintGroup X, No. 1, Altarpiece (Grupp X, nr 1, Altarbild), 1915 from Altarpieces (Altarbilder)Oil and metal leaf on canvas, 237.5 x 179.5 cmThe Hilma af Klint Foundation, StockholmPhoto: Albin Dahlström, the Moderna Museet, Stockholm


Hilma af KlintNo. 1 (Nr 1) from The Atom Series (Serie Atom), 1917Watercolor on paper, 27 x 25 cmThe Hilma af Klint Foundation, StockholmPhoto: Albin Dahlström, the Moderna Museet, Stockholm

Hilma af KlintUntitled, 1920from On the Viewing of Flowers and Trees (Vid betraktande av blommor och träd)Watercolor on paper, 17.9 x 25 cmThe Hilma af Klint Foundation, StockholmPhoto: Albin Dahlström, the Moderna Museet, Stockholm

Hilma af KlintNo. 2a, The Current Standpoint of the Mahatmas (Nr 2a, Mahatmernas nuvarande ståndpunkt), 1920from Series II (Serie II)Oil on canvas, 36.5 x 27 cmThe Hilma af Klint Foundation, Stockholm

When Hilma af Klint began creating radically abstract paintings, in 1906 in Stockholm, they were like little that had been seen before: bold, colorful, and untethered from recognizable references to the physical world. It was years before Vasily Kandinsky, Piet Mondrian, and others would take similar strides to rid their own artwork of representational content. Yet while many of her better-known contemporaries published manifestos and exhibited widely, af Klint kept her groundbreaking paintings largely private. She rarely exhibited them and, convinced the world was not yet ready to understand her work, stipulated that they not be shown for twenty years following her death. Ultimately, her abstractions remained all but unseen until 1986, eighty years after she began her monumental cycle, The Paintings for the Temple (1906–15).

At the outset of her career, in the late 1880s, af Klint pursued a more traditional artistic path and established herself as a respected landscape and portrait painter in Stockholm. She also became involved in a range of religious and occult teachings, including spiritualism, Theosophy, and Rosicrucianism. These two defining commitments—art and spirituality—remained separate until 1906, when af Klint began The Paintings for the Temple, the artworks that marked her pivotal break with figuration and her turn toward spiritual subject matter. She attributed the origins of these paintings in part to spirits that she channeled, and drew upon her

own metaphysical convictions as she sought to represent a transcendent reality beyond the observable world. By 1915, when af Klint completed this project, it consisted of 193 paintings and works on paper. The artist imagined installing the cycle in a multilevel temple connected by a spiraling path—a design with strong, though coincidental, echoes of the Guggenheim’s own Frank Lloyd Wright–designed building, itself conceived as “a temple of spirit.” Over the next decades, until her death in 1944, af Klint continued to push the bounds of her new abstract vocabulary and spiritually derived subjects, as she experimented with form, theme, and seriality.

Af Klint’s decision to reserve her work for a future audience makes its contemporary reception a fulfillment of the artist’s wishes and a rare opportunity to rethink art history. Her achievements now call into question the standard narrative of abstraction’s development in the early twentieth century, demanding a reevaluation of its timeline and key figures, as well as of the factors that shaped its trajectory—including geography, gender, and broader currents in intellectual and visual culture. The present exhibition, which focuses on af Klint’s breakthrough years, constitutes a crucial step in amending that story. In this new light, af Klint emerges as an artist both of her time and decisively ahead of it.

—Tracey Bashkoff, Director of Collections and Senior Curator, with David Horowitz, Curatorial Assistant

This exhibition is organized by the Solomon R. Guggenheim Foundation, New York, with the cooperation of the Hilma af Klint Foundation, Stockholm. All works in the exhibition are on loan from the Hilma af Klint Foundation unless otherwise credited.

300#HilmaafKlint

Hilma af Klint, early 1900s

The Ten LargestHigh Gallery

Af Klint created The Ten Largest between November and December of 1907, roughly a year into The Paintings for the Temple. Over that brief initial period, she had forged an approach to painting with no direct precedent. Her new style drew on the outsize, simplified forms of Swedish folk art, the schematic representations of invisible forces found in scientific diagrams, and symbols from a variety of spiritual movements. Informed by her own robust artistic training and her experiences making automatic drawings as a spiritualist medium, she combined these visual modes in new, stunningly original ways. The monumental scale of The Ten Largest represents yet another major innovation in her painting practice—enormous in its ambition—with few antecedents besides the kinds of religious paintings found in many Renaissance and Baroque cathedrals. In af Klint’s plans for a temple, she envisioned displaying these paintings hung together “to create a beautiful wall covering,” an idea that further attests to the overwhelming impact she intended them to have. The group depicts a subject as expansive as its format, the human life cycle, which is represented through abstract and abstracted forms.

Af Klint attended Stockholm’s prestigious Royal Academy of Fine Arts from 1882 through 1887—not long after the school began admitting women—and graduated with honors. In recognition of her abilities, the academy granted her use of a studio in the Kungsträdgården area, the city’s artistic center. Af Klint’s career continued to advance over the next twenty-five years: she exhibited frequently, accepted portrait commissions, worked as a professional illustrator for publications on science and design, and served as a board member of the Association of Swedish Women Artists. The works she showed publicly during this period demonstrate a mastery of classical techniques and concepts. A strong engagement with contemporary artistic styles, most notably Impressionism, can also be seen in her loose brush handling and concern with effects of light. However, by the mid-1910s af Klint stopped participating in Stockholm’s art world to concentrate entirely on pursuing her spiritual, and largely abstract, style.

Figurative worksBay 12

Spiritualism, the practice of communing with unseen spirits, gained widespread popularity in the United States and Europe over the second half of the nineteenth century. As science rapidly pushed into imperceptible realms with the discovery of X-rays, subatomic particles, and radioactivity, many people began to believe that unseen spirits might also be present and accessible. Af Klint first became interested in spiritualism in 1879, at the age of seventeen. The death of her sister the following year would further her desire to contact a spirit world. However, af Klint soon stopped attempting to channel the dead and instead committed herself to using spiritualism to communicate with transcendent spiritual guides. Using channeling as a way to gain metaphysical insights, af Klint aligned her practice as a medium with her broader interest in esoteric spiritual teachings, especially Rosicrucianism and Theosophy—both of which teach that higher spiritual realities can be experienced and understood.

Spiritualism would eventually help af Klint make the major artistic breakthrough represented by The Paintings for the Temple. In employing spiritualism as a way to break from the constraints of the past, the artist was not alone. The majority of spiritual mediums during the period were women, and many used channeling as a way to overcome society’s marginalization of their voices by claiming direct access to an absolute authority. The movement was also highly generative for a number of well-known artists and writers, including the early abstract painter František Kupka, the Futurist artist Giacomo Balla, and the novelist Victor Hugo.

SpiritualismRamp 2 Freight Wall

In 1896 af Klint began to hold regular séances with four other women, who collectively called themselves The Five (De Fem). Like other spiritualists of the era, the group understood their endeavor as a way of obtaining direct access to a higher order of knowledge. As part of their efforts, the women began to produce automatic drawings, a then-common method of channeling in which mediums would cede conscious control of their bodies to what they perceived as a guiding spirit as images or texts were created. Another member of The Five served as the medium for most of the group’s drawings until 1903, when af Klint took on the role. The exercises in automatism may have liberated af Klint from the confines of her academic art training, allowing her to envision a world of original, remarkably abstract imagery.

The FiveBay 28

During séances in 1904, two of the spiritual guides that The Five regularly channeled introduced the idea of a temple that would one day be built to house a series of spiritually derived paintings. The next year, af Klint was informed by the guides that she would be called on to complete the task. During this period, the other members of The Five were also asked if they would be willing to participate, but each declined. They expressed concern that such an intense engagement with the spiritual realm could lead to madness and cautioned af Klint to consider carefully before accepting the charge. Nonetheless, in January 1906 af Klint agreed to carry out what she referred to as “the great commission.”

In November of that year, after months of preparation, she embarked on the project’s first group of paintings, Primordial Chaos. These works, which represent the birth of the world, incorporate forms derived from scientific visualizations related to the cosmic, the microscopic, and the atomic. Af Klint would have been familiar with such imagery from her earlier work as a biological illustrator and from her contact with esoteric literature, which regularly featured scientifically styled diagrams.

The CommissionBay 26

In an effort to understand the messages she apprehended through her spiritual practice, af Klint took copious notes, recording her experiences and interpretations. These notebooks stretch from the artist’s student years to the first meetings of The Five to the final decades of af Klint’s life, when she worked to ensure that her achievements would be accessible and comprehensible to future audiences. The notebooks of The Five contain records of séances, including automatic drawings and descriptions of the group’s encounters with spiritual guides known as Amaliel, Ananda, Clemens, Esther, Georg, and Gregor. Later, as af Klint created The Paintings for the Temple and for years after they were finished, she strove to interpret and explain the imagery, symbolism, and cryptic lettering in her works, an undertaking that at one point took the form of a dictionary. Years after completing her monumental cycle, af Klint developed plans for a temple to house these works. She made designs for a nearly circular, four-story building that would be connected by a central spiral staircase. She imagined that this structure would be imbued with a “certain power and calm.”

NotebooksBay 38

The Darwinian concept of evolution was still a contested subject at the turn of the century, but its model of development had already been assimilated across disciplines. The idea was central to Theosophy, a spiritual movement that was formative for af Klint as well as for other artists of the time, including Kandinsky and Mondrian. According to Theosophical thought, evolution is a process that extends beyond biology, pervading the cosmos on physical and ultimately spiritual levels. This theme runs throughout The Paintings for the Temple but becomes a focal point in Evolution, a group that af Klint created in 1908. In these paintings, spiritual development is depicted in the progression from one canvas to the next, while evolution’s specific role in this process is represented by the form of the spiral, a symbol of continual growth and change, embodied in the snail’s shell. Early in the group, snails can be seen at the lowest level, at the point of renewal; their subsequent rise is captured in the final paintings.

EvolutionBay 37

Between 1908 and 1912, af Klint paused her work on The Paintings for the Temple to care for her mother, who had gone blind. When she resumed the project, she adjusted her mediumistic approach. Instead of experiencing a spirit acting through her as she painted, af Klint now perceived messages that she decided how to interpret and express. Her style shifted in some ways with this new mode of working: overt religious iconography increased, geometric forms became emphasized, and freely moving lines began to appear less frequently. However, overarching themes concerning the spiritual structure of existence continued to guide the project, and many of af Klint’s earlier motifs, such as spirals, abstracted plants and animals, and imagery derived from science and esoteric belief systems, remained prominent. In The Tree of Knowledge, af Klint used these strategies as she offered a visionary interpretation of the biblical narrative of the Garden of Eden.

Tree of KnowledgeBay 34

From the beginning of her work on The Paintings for the Temple, af Klint created thematically and formally focused groups. Paintings within each group were meant to be experienced in a specific order that established a relationship from one composition to the next. This structure was applied to powerful effect in The Swan, where the canvases seem to lead into one another much like frames in a filmstrip, a still new and increasingly popular medium at the time. Beginning with black and white swans, the artist delves into dualities—light and dark, male and female, life and death—forces whose opposition and eventual resolution she believed were central to existence. In alchemy, the swan symbolizes the union of opposites necessary for the creation of the philosopher’s stone, a legendary substance capable of turning base metals into gold. In af Klint’s paintings, after the forces embodied by the swans come into conflict and begin to combine— a process signaled by the shift from representational to abstract imagery—they ascend into higher realms, until they are ultimately unified.

The SwanBay 33

Af Klint described the final group of The Paintings for the Temple, called the Altarpieces, as “the summary of the series so far.” Here the theme of ultimately resolved dualities, present in much of af Klint’s work, is manifest in the use of ascending and descending triangles, which in the group’s last painting are reconciled into a six-pointed star set within a seemingly energized orb. When af Klint developed plans for a temple to house her “great commission,” she envisioned a three-level structure of stacked rings, tapering upward and connected by a four-story central tower with a spiral staircase. The Altarpieces were to occupy the central chamber of the topmost level. Though her plan was never realized, it seems that this group of paintings was exhibited in 1928 at the World Conference of Spiritual Science and Its Practical Applications in London—the only known public display of The Paintings for the Temple during the artist’s lifetime.

The AltarpiecesBay 44

Af Klint often incorporated insights gleaned from color theory in her paintings, while endowing colors with unique symbolic significances. In The Dove, a group that depicts the creation of matter from light, she used a combination that recurs in much of her work: blue and yellow. In the artist’s symbolic vocabulary, blue represents the female, and yellow stands for the male. Though the gendering of these colors was specific to af Klint, the belief that these two colors represent an essential dichotomy likely derived from Johann Wolfgang von Goethe’s Theory of Colours (1810), a book found in af Klint’s library. In Goethe’s theory, colors are made by the mixture of light and shadow, with blue emerging from the darkness and yellow from the dulling of light; green was their harmonious union. Goethe further claimed that colors were associated with human qualities, aligning blue with baseness and gloom and yellow with goodness. Though af Klint frequently began groups with this pairing, it regularly gives way to a spectrum of color.

The DoveBay 43

At the beginning of a notebook from 1932, af Klint wrote that her spiritually informed works, including The Paintings for the Temple, should not be exhibited until twenty years after her death. Nonetheless, she did not keep her works entirely secret. With The Blue Books, af Klint created a tool that would allow her to selectively share her paintings. Nearly all of The Paintings for the Temple are represented in these books by both black-and-white photographs and carefully rendered watercolor reproductions. These volumes would have enabled af Klint to show trusted viewers the forms, colors, and symbolism of her works. This gesture and others make apparent that af Klint’s priority was not to keep the paintings secret but to ensure that the conditions were correct for their proper reception. Af Klint’s lack of confidence in her contemporaries may have been well founded. At the time she made these works, the art world was generally dismissive of work made by women, while many critics did not take abstraction seriously.

Blue NotebooksBay 41

After completing The Paintings for the Temple, at the end of 1915, af Klint continued to develop related painting styles and subjects. However, she further distanced her approach to art making from her spiritualism. By 1917 she had stopped channeling while she painted and instead consciously relied on her own observations and interests, bringing her practice more squarely in line with traditional conceptions of artistic authorship. During this period, af Klint gave special attention to the natural world and to a diverse variety of religious and spiritual beliefs, often combining the two subjects. In order to express her views on these complex topics, she regularly incorporated aspects of the kinds of diagrams that were then circulating within both scientific and occultist literature. In these works movement, space, and force are typically represented schematically, and specific ideas are referred to by defined abstract symbols. In order to explore development through time, af Klint continued to work in focused, ordered series as she had in The Paintings for the Temple, though the works within each group began to share even closer formal qualities.

Post–Paintings for the TempleRamp 5 Freight Wall

“Parsifal” refers to a figure from the folkloric tales of King Arthur and the Knights of the Round Table. Raised in seclusion, the innocent and ignorant Parsifal joins the order of the knights and ultimately proves his worthiness through his roles in searching for the Grail and healing a mortally injured king. Af Klint’s series seems to loosely parallel this narrative through abstract forms. After beginning with a dark spiral that opens onto a small point of light, the compositions quickly move toward greater clarity and intricacy. Parsifal’s difficult journey toward attaining spiritual realization, and the difficulty of such journeys more generally, is perhaps reflected in the series’ second group. Many of these works feature words indicating direction: Nedåt (downward), Bakåt (backward), Utåt (outward), Framåt (forward), Uppåt (upward), and Inåt (inward). The twisting and turning motion they suggest when taken together may reflect the trying path af Klint associated with her own search for transcendence.

Parsifal Group IIBay 58 Oor 57

For Theosophists, along with the followers of a number of other contemporary esoteric spiritual movements, the discovery of the atom and its subatomic particles offered proof of an invisible reality beyond perceptible, everyday experience. In Occult Chemistry: A Series of Clairvoyant Observations on the Chemical Elements (1908), a foundational Theosophical text, Annie Besant and Charles W. Leadbeater claim to have used clairvoyant sight to record the singular unit of a chemical element, termed the “ultimate physical atom.” For the authors, this entity, which occupied the border between the astral and material planes, offered a means to cosmic knowledge rather than an end unto itself. In The Atom Series, af Klint used a similar approach. Taking the smallest possible unit of matter, she illustrated the process of spiritual evolution that she believed permeated the universe at all levels, including the material.

The Atom SeriesBay 56

Af Klint was interested in a variety of religions and spiritual teachings from an early age. This inclination was further propelled by her deep engagement with Theosophy and Rosicrucianism, two esoteric belief systems that openly draw from a number of existing traditions. While the former incorporates aspects of Buddhism and Hinduism, and the latter emphasizes its connections to medieval European traditions, both seek to resolve the apparent contradictions of other religions and philosophies in order to create a unified moral and metaphysical worldview. Af Klint also remained a practicing Lutheran for much of her life and allowed her Christian beliefs to guide her other spiritual commitments, including her channeling. In this series, af Klint depicted many of the major world religions using a consistent format, palette, and set of shapes. In doing so, she suggested that they are all in some way interrelated.

Series IIBay 55

In 1920 af Klint joined Rudolf Steiner’s Anthroposophical Society, an offshoot of the Theosophical Society that emphasizes the accessibility of the spiritual realm through introspection and personal development. That same year, she visited Dornach, Switzerland, where the Anthroposophical Society had its headquarters. There she heard Steiner and others lecture on a range of topics, including art and color theory. This was not af Klint’s first encounter with Steiner. In 1908, already familiar with his spiritual teachings, she had invited him to her studio in Stockholm to see The Paintings for the Temple, then only partially completed. His reaction, however, was a disappointment to af Klint. Although he appreciated her use of symbolism, he disapproved of her mediumistic approach and encouraged her to rely more on introspection. Though at the time af Klint decided not to follow Steiner’s model of art making, in the early 1920s she began to incorporate his preferred wet-on-wet watercolor technique into her artistic practice. The results remained distinctly her own, as she continued to focus on the presence of the divine in nature and flouted Steiner’s prohibition against using black.

Late watercolorsBay 52

In the final decades of her life, af Klint continued to expand upon the themes and stylistic approaches she had begun to establish in 1906. She also took great care to ensure that The Paintings for the Temple would be properly understood in years to come. Among her efforts, she detailed plans for a temple to house these works, edited and reorganized her earlier notes, and catalogued all of her artworks that were connected to her spiritual practice. She passed away in 1944 at the age of eighty-one, following an accident with a tram. Though she had mandated that her works not be shown for twenty years following her death, it would take more than four decades for her groundbreaking paintings to be exhibited again. It is only since then that af Klint’s work has begun to find its rightful audience. As her achievements have been increasingly recognized, they have transformed our understanding of modernism and deeply affected many contemporary artists. In its impact, which is still only beginning to be felt, af Klint’s work continues to project into the future, reshaping the possibilities of what is to come by offering a renewed vision of the past.

Late watercolorsBay 51

Left to right, top to bottom:

Portrait Study of the Head of a Woman

(Porträttstudie av kvinnohuvud), 1918(?)

Charcoal, crayon, and graphite on paper

Cress (Krasse), 1890s

Watercolor and ink on paper

Cornflower (Blåklint), 1890s

Watercolor, gouache, and graphite on paper

Poppy (Valmo), 1890s

Watercolor, ink, and graphite on paper

Morel (Mörkla), 1890s

Watercolor and graphite on paper

Ketty, n.d.

Oil on canvas

Small Insects (Småkryp), 1890s


Portrait Study of a Sitting Woman

(Porträttstudie av sittande kvinna), 1918(?)


Summer Landscape (Sommarlandskap), 1888

Oil on canvas

Dorsia Hotel, Gothenburg, Sweden

302

Collective Works of The Five (De Fem)

Right to left:

Spiritual Drawing (Spiritistisk teckning),

ca. 1903

Graphite on paper

Spiritual Drawing (Spiritistisk teckning),

ca. 1903

Graphite on paper

Spiritual Drawing (Spiritistisk teckning), 1903

Graphite on paper

Spiritual Drawing (Spiritistisk teckning), 1904

Graphite on paper

303


Right to left:

Untitled, 1908

Dry pastel and graphite on paper

Untitled, 1908


Untitled, 1908


Untitled, 1908

Dry pastel on paper


Right to left:

Untitled, 1908

Dry pastel on paper

Untitled, 1908


Untitled, 1908


Untitled, 1908



Right to left:

Untitled, 1908


Untitled, 1908

Dry pastel on paper

Untitled, 1908


Untitled, 1908



Right to left:

Untitled, 1908


Untitled, 1908


Untitled, 1908

Dry pastel on paper

Untitled, 1908


Group I, Primordial Chaos (Grupp I, Urkaos)

The WU/Rose Series (Serie WU/Rosen)

Top row,

right to left:

No. 1, 1906

Oil on canvas

No. 2, 1906

Oil on canvas

No. 3, 1906

Oil on canvas

No. 4, 1906

Oil on canvas

No. 5, 1906–07

Oil on canvas

No. 6, 1906–07

Oil on canvas

No. 7, 1906–07

Oil on canvas

Bottom row,

right to left:

No. 8, 1906–07

Oil on canvas

No. 9, 1906–07

Oil on canvas

No. 10, 1906–07

Oil on canvas

No. 11, 1906–07

Oil on canvas

No. 12, 1906–07

Oil on canvas

No. 13, 1906–07

Oil on canvas

No. 14, 1906–07

Oil on canvas

304

Group I, Primordial Chaos (Grupp I, Urkaos)


Top row,

right to left:

No. 15, 1906–07

Oil on canvas

No. 16, 1906–07

Oil on canvas

No. 17, 1906–07

Oil on canvas

No. 18, 1906–07

Oil on canvas

No. 19, 1906–07

Oil on canvas

No. 20, 1906–07

Oil on canvas

Bottom row,

right to left:

No. 21, 1906–07

Oil on canvas

No. 22, 1906–07

Oil on canvas

No. 23, 1906–07

Oil on canvas

No. 24, 1906–07

Oil on canvas

No. 25, 1906–07

Oil on canvas

No. 26, 1906–07

Oil on canvas

Group II, The Eros Series (Grupp II, Erosserien)


Right to left:

No. 2, 1907

Oil on canvas

No. 5, 1907

Oil on canvas

No. 6, 1907

Oil on canvas

Group IV, The Ten Largest (Grupp IV,

De tio största)

Untitled Series

Left to right:

No. 1, Childhood (Barnaåldern), 1907

Tempera on paper, mounted on canvas

No. 2, Childhood (Barnaåldern), 1907


No. 3, Youth (Ynglingaåldern), 1907


No. 4, Youth (Ynglingaåldern), 1907


No. 5, Adulthood (Mannaåldern), 1907


301

Group IV, The Ten Largest (Grupp IV,

De tio största)

Untitled Series

Right to left:

No. 10, Old Age (Ålderdomen), 1907


No. 9, Old Age (Ålderdomen), 1907








301

Group V, The Seven-Pointed Star (Grupp V,

Sjustjärnan)

The WUS/Seven-Pointed Star Series (Serie WUS/Sjustjärnan)

Right to left:

No. 1, 1908

Tempera, gouache, and graphite on

paper, mounted on canvas

No. 2, 1908

Tempera, gouache, and graphite on

paper, mounted on canvas

No. 13, 1908

Tempera and graphite on paper,

mounted on canvas

No. 19, 1908

Tempera and graphite on paper,

mounted on canvas

305

Group VI, Evolution (Grupp VI, Evolutionen)


Right to left:

No. 7, 1908

Oil on canvas

No. 8, 1908

Oil on canvas



Right to left:

No. 9, 1908

Oil on canvas

No. 13, 1908

Oil on canvas

No. 14, 1908

Oil on canvas



Right to left:

No. 15, 1908

Oil on canvas

No. 16, 1908

Oil on canvas

306



Right to left:

No. 7, 1908

Oil on canvas

No. 8, 1908

Oil on canvas

No. 9, 1908

Oil on canvas



Right to left:

No. 13, 1908

Oil on canvas

No. 14, 1908

Oil on canvas

Tree of Knowledge (Kunskapens träd)

The W Series (Serie W)

Right to left:

No. 1, 1913

Watercolor, gouache, graphite, metallic

paint, and ink on paper

No. 2, 1913

Watercolor, gouache, graphite, and ink

on paper

No. 3, 1915


on paper

No. 4, 1915


on paper

No. 5, 1915

Watercolor, gouache, graphite, and

metallic paint on paper

307

Group IX/SUW, The Swan (Grupp IX/

SUW, Svanen)

The SUW/UW Series (Serie SUW/UW)

Right to left:

No. 1, 1915

Oil on canvas

No. 7, 1915

Oil on canvas

308


SUW, Svanen)


No. 9, 1915

Oil on canvas


SUW, Svanen)


Right to left:

No. 10, 1915

Oil on canvas

No. 11, 1915

Oil on canvas


SUW, Svanen)


Right to left:

No. 9, 1915

Oil on canvas

No. 10, 1915

Oil on canvas


SUW, Svanen)


No. 11, 1915

Oil on canvas


SUW, Svanen)


Right to left:

No. 12, 1915

Oil on canvas

No. 13, 1915

Oil on canvas


SUW, Svanen)


Right to left:

No. 14, 1915

Oil on canvas

No. 15, 1915

Oil on canvas

309


SUW, Svanen)


Right to left:

No. 16, 1915

Oil on canvas

No. 17, 1915

Oil on canvas


SUW, Svanen)


Right to left:

No. 22, 1915

Oil on canvas

No. 23, 1915

Oil on canvas

Group IX/UW, The Dove (Grupp IX/

UW, Duvan)


Right to left:

No. 1, 1915

Oil on canvas

No. 3, 1915

Oil on canvas

311


UW, Duvan)


Right to left:

No. 12, 1915

Oil on canvas

No. 13, 1915

Oil on canvas

312


UW, Duvan)


No. 14, 1915

Oil on canvas

Group X, Altarpieces (Grupp X, Altarbilder)

Right to left:

No. 1, Altarpiece (Altarbild), 1915

Oil and metal leaf on canvas





310

Group X, Altarpieces (Grupp X, Altarbilder)

Right to left:







310

Right to left:

Group I (Grupp I)

The Parsifal Series (Serie Parcifal)

No. 1, 1916


No. 39, 1916

Watercolor, graphite, and metallic

paint on paper

No. 40, 1916


No. 41, 1916


Group III (Grupp III)


No. 96, 1916


No. 97, 1916


No. 98, 1916


Group II, Ether Convolute (Grupp II,

Eterkonvolutet)


Top row, right to left:

No. 60, 1916


No. 61, 1916


No. 62, 1916


No. 63, 1916


No. 64, 1916


No. 65, 1916


313

Group II, The Convolute of the Astral Forces

(Grupp II, De astrala krafternas konvolut)


Middle row, right to left:

No. 68, 1916


No. 69, 1916


No. 70, 1916


No. 71, 1916


No. 72, 1916


No. 73, 1916


Group II, The Convolute of the Physical Level

(Grupp II, Det fysiska planets konvolut)


Bottom row, right to left:

No. 84, 1916


No. 85, 1916


No. 86, 1916


No. 87, 1916


No. 88, 1916


No. 89, 1916


Group III (Grupp III)


Right to left:

No. 112, 1916


No. 113, 1916


No. 114, 1916

Watercolor on paper

No. 117, 1916


No. 119, 1916


No. 121, 1916


No. 122, 1916


The Atom Series (Serie atomen)

Right to left:

No. a, 1917

Watercolor on paper

Top row:

No. b, 1917

Watercolor, graphite,

and metallic

paint on paper

No. 1, 1917


and metallic paint

on paper

No. 4, 1917


and metallic paint

on paper

Bottom row:

No. 5, 1917


and metallic paint

on paper

No. 11, 1917


and metallic paint

on paper

No. 15, 1917


and metallic paint

on paper

314

Series I (Serie I)

Right to left:

Violet Blossoms with Guidelines (Violblommor

med riktlinjer), 1919

Watercolor, graphite, and metallic paint

on paper

Motacilla Alba: Wagtail with Guidelines (Motacilla

alba: Sädesärlans riktlinjer), 1919

Watercolor, graphite, and metallic paint

on paper

Series II (Serie II)

Right to left:

No. 1, Starting Picture (Utgångsbild), 1920

Oil on canvas

No. 2a, The Current Standpoint of the Mahatmas

(Mahatmernas nuvarande ståndpunkt), 1920

Oil on canvas

No. 2b, The Jewish Standpoint at the Birth of

Jesus (Judarnas ståndpunkt vid Jesu födelse),

1920

Oil on canvas

No. 3a, Buddha’s Standpoint in Worldly Life

(Budhas ståndpunkt i jordelifvet), 1920

Oil on canvas

315

No. 3b, The Standpoints of Judaism and

Heathendom (Judendomens och hedendomens

ståndpunkt), 1920

Oil on canvas

No. 3c, The Mohammedan Standpoint

(Muhamedanska ståndpunkten), 1920

Oil on canvas

No. 3d, The Teachings of Buddhism (Budhismens

lärosystem), 1920

Oil on canvas

No. 3d+, The Christian Religion (Den kristna

religionen), 1920

Oil on canvas

Series IV (Serie IV)

Right to left:

No. 2a, 1920

Oil on canvas

No. 2b, 1920

Oil on canvas

No. 2c, 1920

Oil on canvas

No. 2d, 1920

Oil on canvas

Series V (Serie V)

Top row,

right to left:

No. 1, 1920

Oil on canvas

No. 2a, 1920

Oil on canvas

No. 2b, 1920

Oil on canvas

No. 3a, 1920

Oil on canvas

No. 3b, 1920

Oil on canvas

Bottom row,

right to left:

No. 3c, 1920

Oil on canvas

No. 4, 1920

Oil on canvas

No. 5, 1920

Oil on canvas

No. 6, 1920

Oil on canvas

No. 7, 1920

Oil on canvas

Right to left:

On the Viewing of Flowers and Trees

(Vid betraktande av blommor och träd)

Untitled, 1922

Watercolor on paper

Untitled, 1922

Watercolor on paper

Untitled, 1922

Watercolor on paper

Ear of Grain (Sädesax), 1922

Watercolor on paper

Late Watercolors

Untitled, 1924

Watercolor on paper

Untitled, 1924

Watercolor on paper

316

Right to left:




Watercolor on paper

Untitled, 1922

Watercolor on paper

Untitled, 1922

Watercolor on paper

Untitled, 1922

Watercolor on paper

Late Watercolors

Untitled, 1924

Watercolor on paper

Untitled, 1924

Watercolor on paper

316

Right to left:



Untitled, 1922

Watercolor on paper


Watercolor on paper

Untitled, 1922

Watercolor on paper

Untitled, 1922

Watercolor on paper

Late Watercolors

Untitled, 1924

Watercolor on paper

Untitled, 1924

Watercolor on paper

316

Right to left:



Untitled, 1922

Watercolor on paper

Untitled, 1922

Watercolor on paper


Watercolor on paper

Untitled, 1922

Watercolor on paper

Late Watercolors

Untitled, 1924

Watercolor on paper

Untitled, 1924

Watercolor on paper

316

Late Watercolors

Right to left:

Untitled, 1931

Watercolor on paper

Untitled, 1931

Watercolor on paper

Untitled, 1931

Watercolor on paper

Untitled, 1931

Watercolor on paper

Late Watercolors

Right to left:

Untitled, 1941

Watercolor on paper

Untitled, 1941

Watercolor on paper

Late Watercolors

Right to left:

Untitled, 1931

Watercolor on paper

Untitled, 1931

Watercolor on paper

Untitled, 1931

Watercolor on paper

Untitled, 1931

Watercolor on paper

Untitled, 1941

Watercolor on paper

Untitled, 1941

Watercolor on paper

Gregor’s Book (Gregors bok), 1896–1900

Records of The Five’s séances involving Gregor, one

of the spiritual guides the group channeled

Sketchbook S1 (Skissbok S1), 1896

Automatic drawings made by The Five before af Klint

began executing the group’s spiritualist drawings

Notes on Letters and Words Pertaining to Works by

Hilma by Klint (Anteckningar över bokstäver och ord

tillhörande arbeten av Hilma af Klint), n.d.

Af Klint’s definitions of the letters and idiosyncratic

words that appear in her artworks

Thoughts, Book V (Tankar, Bok V), 1930–31

A sketch and description of the temple af Klint

imagined housing The Paintings for the Temple

Thoughts, Book VII (Tankar, Bok VII), 1931

Af Klint’s note specifying that all works bearing the

symbols + × should be reserved for future audiences:

“All works that should be opened twenty years after

my death carry the sign shown above.”

Blue Books (Blåa böckerna)

Book IX (Bok IX), n.d.

Blue Books (Blåa böckerna)

Book IV (Bok IV), n.d.

Hilma af Klint: Paintings for the Future

10/12/2018 4/23/2019-

High Gallery

Hilma af Klint(1862-1944)

Group IV, The Ten Largest, No. 1, Childhood, 1907

Untitled Series, 1907

Grupp IV, De tio största, nr. 1, Barnaåldern, 1907

Saknar seriebeteckning, 1907


126 3/4 x 94 1/8 inches (322 x 239 cm)

The Hilma af Klint Foundation, Stockholm

HaK 102

X.2017.610


Group IV, The Ten Largest, No. 2, Childhood, 1907


Grupp IV, De tio största, nr 2, Barnaåldern, 1907



124 x 92 1/8 inches (315 x 234 cm)


HaK 103

X.2017.605


Group IV, The Ten Largest, No. 3, Youth, 1907


Grupp IV, De tio största, nr 3, Ynglingaåldern, 1907



126 3/8 x 94 1/2 inches (321 x 240 cm)


HaK 104

X.2017.611


Group IV, The Ten Largest, No. 4, Youth, 1907


Grupp IV, De tio största, nr 4, Ynglingaåldern, 1907



124 x 92 1/8 inches (315 x 234 cm)


HaK 105

X.2017.608

10/9/2018 1


10/12/2018 4/23/2019-

High Gallery


Group IV, The Ten Largest, No. 5, Adulthood, 1907


Grupp IV, De tio största, nr 5, Mannaåldern, 1907



126 3/8 x 93 5/16 inches (321 x 237 cm)


HaK 106

X.2017.604







124 x 92 1/8 inches (315 x 234 cm)


HaK 107

X.2017.602







124 x 92 1/2 inches (315 x 235 cm)


X.2017.603







126 3/4 x 94 1/8 inches (322 x 239 cm)


HaK 109

X.2017.609


Group IV, The Ten Largest, No. 9, Old Age, 1907


Grupp IV, De tio största, nr 9, Ålderdomen, 1907



126 x 93 11/16 inches (320 x 238 cm)


HaK 110

X.2017.606

10/9/2018 2


10/12/2018 4/23/2019-

High Gallery


Group IV, The Ten Largest, No. 10, Old Age, 1907


Grupp IV, De tio största, nr 10, Ålderdomen, 1907



126 x 93 5/16 inches (320 x 237 cm)


HaK 111

X.2017.607

Ramp 1, Bay 12


Cress, 1890s

Krasse, 1890s

Watercolor and ink on paper

5 11/16 x 5 1/8 inches (14.5 x 13 cm)


HaK 1312

X.2017.661


Ketty, n.d.

Oil on canvas

7 15/16 x 10 13/16 inches (20.2 x 27.5 cm)


HaK 1294

X.2017.660


Cornflower, 1890s

Blåklint, 1890s

Watercolor, gouache, and graphite on paper

18 15/16 x 12 9/16 inches (48.1 x 31.9 cm)


HaK 1367

X.2017.202


Portrait study of a sitting woman, 1918 (?)

Porträttstudie av sittande kvinna, 1918 (?)


24 7/16 x 18 1/2 inches (62 x 47 cm)


HaK 1248

X.2018.321

10/9/2018 3


10/12/2018 4/23/2019-

Ramp 1, Bay 12


Portrait study of the head of a woman, 1918 (?)

Porträttstudie av kvinnohuvud, 1918 (?)


12 5/8 x 9 7/16 inches (32 x 24 cm)


HaK 1246

X.2018.320


Morel, 1890s

Mörkla, 1890s


6 13/16 x 6 11/16 inches (17.3 x 17 cm)


HaK 1335

X.2017.200


Small insects, 1890s

Småkryp, 1890s


4 1/8 x 7 1/4 inches (10.5 x 18.4 cm)


HaK 1340

X.2017.662


Poppy, 1890s

Vallmo, 1890s


22 13/16 x 13 15/16 inches (57.9 x 35.4 cm)


HaK 1330

X.2017.198

Ramp 1, Bay 11


Summer Landscape, 1888

Sommarlandskap, 1888

Oil on canvas

34 5/8 x 58 1/4 inches (88 x 148 cm)

Dorsia Hotel, Gothenburg, Sweden

X.2018.10535

Ramp 2, Bay 28

10/9/2018 4


10/12/2018 4/23/2019-

Ramp 2, Bay 28


Spiritual drawing, ca. 1903

The Five, ca. 1903

Spiritistisk teckning, ca. 1903

De Fem, ca. 1903

Graphite on paper

19 15/16 x 16 5/8 inches (50.7 x 42.2 cm)


HaK 1474

X.2017.213


Spiritual drawing, 1904

The Five, 1904

Spiritistisk teckning, 1904

De Fem, 1904

Graphite on paper

12 3/8 x 15 3/4 inches (31.5 x 40 cm)


HaK 1481

X.2017.205


Spiritual drawing, 1903

The Five, 1903

Spiritistisk teckning, 1903

De Fem, 1903

Graphite on paper

18 11/16 x 11 1/8 inches (47.4 x 28.3 cm)


HaK 1467

X.2017.203


Spiritual drawing, ca. 1903

The Five, ca. 1903

Spiritistisk teckning, ca. 1903

De Fem, ca. 1903

Graphite on paper

19 5/8 x 17 5/16 inches (49.8 x 44 cm)


HaK 1472

X.2017.212

Ramp 2, Bay 27

10/9/2018 5


10/12/2018 4/23/2019-

Ramp 2, Bay 27


Untitled, 1908

The Five, 1908

Titel saknas, 1908

De Fem, 1908


20 3/4 x 24 5/8 inches (52.7 x 62.6 cm)


HaK 1259

X.2017.208


Untitled, 1908

The Five, 1908

Titel saknas, 1908

De Fem, 1908

Dry pastel on paper

20 11/16 x 24 3/4 inches (52.5 x 62.8 cm)


HaK 1274

X.2017.211


Untitled, 1908

The Five, 1908

Titel saknas, 1908

De Fem, 1908


20 11/16 x 24 5/8 inches (52.5 x 62.5 cm)


HaK 1272

X.2017.210


Untitled, 1908

The Five, 1908

Titel saknas, 1908

De Fem, 1908


20 15/16 x 24 15/16 inches (53.2 x 63.4 cm)


HaK 1252

X.2017.206

Ramp 2, Bay 25

10/9/2018 6


10/12/2018 4/23/2019-

Ramp 2, Bay 25


Group I, Primordial Chaos, No. 1, 1906

The WU/Rose Series, 1906

Grupp 1, Urkaos, nr 1, 1906

Serie WU/Rosen, 1906

Oil on canvas

20 7/8 x 14 9/16 inches (53 x 37 cm)


HaK 1

X.2017.214






Oil on canvas

20 7/8 x 14 3/8 inches (53 x 36.5 cm)


HaK 2

X.2017.215






Oil on canvas

20 7/8 x 14 9/16 inches (53 x 37 cm)


HaK 3

X.2017.216






Oil on canvas

20 7/8 x 14 9/16 inches (53 x 37 cm)


HaK 4

X.2017.217

10/9/2018 7


10/12/2018 4/23/2019-

Ramp 2, Bay 25


Group I, Primordial Chaos, No. 5, 1906-07

The WU/Rose Series, 1906-07

Grupp 1, Urkaos, nr 5, 1906-07

Serie WU/Rosen, 1906-07

Oil on canvas

20 7/8 x 14 9/16 inches (53 x 37 cm)


HaK 5

X.2017.218






Oil on canvas

20 11/16 x 14 9/16 inches (52.5 x 37 cm)


HaK 6

X.2017.219






Oil on canvas

20 7/8 x 14 9/16 inches (53 x 37 cm)


HaK 7

X.2017.220






Oil on canvas

20 7/8 x 14 9/16 inches (53 x 37 cm)


HaK 8

X.2017.221

10/9/2018 8


10/12/2018 4/23/2019-

Ramp 2, Bay 25






Oil on canvas

20 1/4 x 14 9/16 inches (51.5 x 37 cm)


HaK 9

X.2017.222






Oil on canvas

20 1/4 x 14 9/16 inches (51.5 x 37 cm)


HaK 10

X.2017.223




Grupp I, Urkaos, nr 11, 1906-07


Oil on canvas

20 1/16 x 14 3/4 inches (51 x 37.5 cm)


HaK 11

X.2017.224






Oil on canvas

20 7/8 x 14 9/16 inches (53 x 37 cm)


HaK 12

X.2017.225

10/9/2018 9


10/12/2018 4/23/2019-

Ramp 2, Bay 25






Oil on canvas

20 11/16 x 14 9/16 inches (52.5 x 37 cm)


HaK 13

X.2017.237






Oil on canvas

20 1/4 x 14 3/8 inches (51.5 x 36.5 cm)


HaK 21

X.2017.238

Ramp 2, Bay 24






Oil on canvas

19 11/16 x 14 15/16 inches (50 x 38 cm)


HaK 14

X.2017.226






Oil on canvas

20 1/2 x 14 9/16 inches (52 x 37 cm)


HaK 15

X.2017.227

10/9/2018 10


10/12/2018 4/23/2019-

Ramp 2, Bay 24






Oil on canvas

20 7/8 x 14 9/16 inches (53 x 37 cm)


HaK 16

X.2017.228






Oil on canvas

20 11/16 x 14 9/16 inches (52.5 x 37 cm)


HaK 17

X.2017.229






Oil on canvas

20 1/2 x 14 9/16 inches (52 x 37 cm)


HaK 18

X.2017.230






Oil on canvas

20 1/4 x 14 9/16 inches (51.5 x 37 cm)


HaK 19

X.2017.231

10/9/2018 11


10/12/2018 4/23/2019-

Ramp 2, Bay 24






Oil on canvas

20 1/4 x 14 9/16 inches (52.5 x 37 cm)


HaK 20

X.2017.232






Oil on canvas

20 1/4 x 14 3/8 inches (51.5 x 36.5 cm)


HaK 22

X.2017.233






Oil on canvas

20 1/2 x 14 9/16 inches (52 x 37 cm)


HaK 23

X.2017.234






Oil on canvas

20 1/4 x 14 9/16 inches (51.5 x 37 cm)


HaK 24

X.2017.235

10/9/2018 12


10/12/2018 4/23/2019-

Ramp 2, Bay 24






Oil on canvas

20 11/16 x 14 3/4 inches (52.5 x 37.5 cm)


HaK 25

X.2017.236






Oil on canvas

19 11/16 x 14 15/16 inches (50 x 38 cm)


HaK 26

X.2017.239

Ramp 2, Bay 22


Group II, The Eros Series, No. 2, 1907


Grupp II, Erosserien, nr 2, 1907


Oil on canvas

23 1/16 x 32 1/16 inches (58.5 x 81.5 cm)


HaK 28

X.2017.579






Oil on canvas

24 x 32 5/16 inches (61 x 82 cm)


HaK 31

X.2017.580

10/9/2018 13


10/12/2018 4/23/2019-

Ramp 2, Bay 22






Oil on canvas

23 1/16 x 32 1/16 inches (58.5 x 81.5 cm)


HaK 32

X.2017.581

Ramp 2, Bay 21


Group V, The Seven-Pointed Star, No. 1, 1908

The WUS/Seven-Pointed Star Series, 1908

Grupp V, Sjustjärnan, nr 1, 1908

Serie WUS/Sjustjärnan, 1908

Tempera, gouache, and graphite on paper, mounted on canvas

24 5/8 x 29 15/16 inches (62.5 x 76 cm)


X.2017.240






Tempera, gouache, and graphite on paper, mounted on canvas

29 3/4 x 24 7/16 inches (75.5 x 62 cm)


HaK 49

X.2017.241






Tempera and graphite on paper, mounted on canvas

28 3/4 x 24 7/16 inches (73 x 62 cm)


HaK 60

X.2017.243

10/9/2018 14


10/12/2018 4/23/2019-

Ramp 2, Bay 21






Tempera and graphite on paper, mounted on canvas

28 15/16 x 24 7/16 inches (73.5 x 62 cm)


HaK 66

X.2017.246

Ramp 3, Bay 38


Gregor's Book, 1896-1900

Gregors bok, 1896-1900

Notebook, 296 pages

8 11/16 x 6 11/16 inches (22 x 17 cm) (closed)


HaK 1156

X.2018.10576


Sketchbook S1, 1896

Skissbok S1, 1896

Notebook, 18 pages

10 3/16 x 7 3/4 inches (25.8 x 19.7 cm) (closed)


HaK 1514

X.2018.10578


Thoughts, Book V, 1930-31

Tankar, Bok V, 1930-31

Notebook, 102 pages



HaK 1047

X.2018.10575


Notes on Letters and Words Pertaining to Works by Hilma by Klint, n.d.

Anteckningar över Bokstäver och Ord tillhörande arbeten av Hilma af

Klint, n.d.

Notebook, 88 pages

8 1/4 x 6 11/16 inches (21 x 17 cm) (Closed)


HaK 1040

X.2018.10574

10/9/2018 15


10/12/2018 4/23/2019-

Ramp 3, Bay 38


Thoughts, Book VII, 1931

Tankar, Bok VII, 1931

Notebook, 120 pages



HaK 1049

X.2018.10680

Ramp 3, Bay 37


Group VI, Evolution, No. 7, 1908


Grupp VI, Evolutionen, nr 7, 1908


Oil on canvas

39 15/16 x 52 3/16 inches (101.5 x 132.5 cm)


HaK 75

X.2017.584






Oil on canvas

40 9/16 x 52 15/16 inches (103 x 134.5 cm)


HaK 76

X.2017.583






Oil on canvas

39 3/4 x 51 3/4 inches (101 x 131.5 cm)


HaK 77

X.2017.585

Ramp 3, Bay 36

10/9/2018 16


10/12/2018 4/23/2019-

Ramp 3, Bay 36






Oil on canvas

39 x 51 inches (99 x 129.5 cm)


HaK 81

X.2017.586






Oil on canvas

39 3/16 x 51 inches (99.5 x 129.5 cm)


HaK 82

X.2017.587

Ramp 3, Bay 35






Oil on canvas

39 x 51 3/16 inches (99 x 130 cm)


X.2017.588






Oil on canvas

40 3/16 x 52 3/8 inches (102 x 133 cm)


HaK 84

X.2017.589

Ramp 3, Bay 34

10/9/2018 17


10/12/2018 4/23/2019-

Ramp 3, Bay 34


Tree of Knowledge, No. 1, 1913

The W Series, 1913

Kunskapens träd, nr 1, 1913

Serie W, 1913

Watercolor, gouache, graphite, metallic paint, and ink on paper

18 x 11 5/8 inches (45.7 x 29.5 cm)


X.2017.247



The W Series, 1913


Serie W, 1913

Watercolor, gouache, graphite, and ink on paper

18 1/16 x 11 5/8 inches (45.8 x 29.5 cm)


HaK 134

X.2017.248



The W Series, 1915


Serie W, 1915


18 1/16 x 11 5/8 inches (45.8 x 29.5 cm)


HaK 135

X.2017.249



The W Series, 1915


Serie W, 1915


18 1/16 x 11 5/8 inches (45.8 x 29.5 cm)


HaK 136

X.2017.250



The W Series, 1915


Serie W, 1915

Watercolor, gouache, graphite, and metallic paint on paper

18 1/16 x 11 5/8 inches (45.8 x 29.5 cm)


HaK 137

X.2017.251

10/9/2018 18


10/12/2018 4/23/2019-

Ramp 3, Bay 33


Group IX/SUW, The Swan, No. 1, 1915

The SUW/UW Series, 1915

Grupp IX/SUW, Svanen, nr 1, 1915

Serie SUW/UW, 1915

Oil on canvas

59 1/16 x 59 1/16 inches (150 x 150 cm)


X.2017.601





Serie SUW/UW, 1915

Oil on canvas

58 7/16 x 58 7/8 inches (148.5 x 149.5 cm)


HaK 155

X.2017.612

Ramp 3, Bay 32





Serie SUW/UW, 1915

Oil on canvas

58 7/8 x 58 11/16 inches (149.5 x 149 cm)


HaK 157

X.2017.613

Ramp 3, Bay 31





Serie SUW/UW, 1915

Oil on canvas

60 1/16 x 58 7/8 inches (152.5 x 149.5 cm)


HaK 158

X.2017.623

10/9/2018 19


10/12/2018 4/23/2019-

Ramp 3, Bay 31





Serie SUW/UW, 1915

Oil on canvas

59 1/4 x 58 11/16 inches (150.5 x 149 cm)


HaK 159

X.2017.614

Ramp 4, Bay 48





Serie SUW/UW, 1915

Oil on canvas

59 5/8 x 59 7/16 inches (151.5 x 151 cm)


HaK 160

X.2017.615





Serie SUW/UW, 1915

Oil on canvas

58 7/16 x 59 7/16 inches (148.5 x 151 cm)


HaK 161

X.2017.616

Ramp 4, Bay 47





Serie SUW/UW, 1915

Oil on canvas

59 7/16 x 59 7/16 inches (151 x 151 cm)


HaK 162

X.2017.617

10/9/2018 20


10/12/2018 4/23/2019-

Ramp 4, Bay 47





Serie SUW/UW, 1915

Oil on canvas

59 13/16 x 58 1/16 inches (152 x 147.5 cm)


X.2018.329

Ramp 4, Bay 46





Serie SUW/UW, 1915

Oil on canvas

60 13/16 x 59 7/16 inches (154.5 x 151 cm)


HaK 164

X.2017.618





Serie SUW/UW, 1915

Oil on canvas

59 1/4 x 59 7/16 inches (150.5 x 151 cm)


HaK 165

X.2017.619

Ramp 4, Bay 45





Serie SUW/UW, 1915

Oil on canvas

60 1/16 x 58 7/8 inches (152.5 x 149.5 cm)


HaK 170

X.2017.620

10/9/2018 21


10/12/2018 4/23/2019-

Ramp 4, Bay 45





Serie SUW/UW, 1915

Oil on canvas

60 1/16 x 59 1/16 inches (152.5 x 150 cm)


HaK 171

X.2017.621

Ramp 4, Bay 44


Group X, No. 1, Altarpiece, 1915

Altarpieces, 1915

Grupp X, nr 1, Altarbild, 1915

Altarbilder, 1915


93 1/2 x 70 11/16 inches (237.5 x 179.5 cm)


X.2017.624



Altarpieces, 1915


Altarbilder, 1915


93 1/2 x 70 1/4 inches (237.5 x 178.5 cm)


X.2017.622



Altarpieces, 1915


Altarbilder, 1915


93 11/16 x 70 1/2 inches (238 x 179 cm)


X.2017.625

Ramp 4, Bay 43

10/9/2018 22


10/12/2018 4/23/2019-

Ramp 4, Bay 43


Group IX/UW, The Dove, No. 1, 1915


Grupp IX/UW, Duvan, nr 1, 1915

Serie SUW/UW, 1915

Oil on canvas

59 7/16 x 45 1/16 inches (151 x 114.5 cm)


HaK 173

X.2017.629





Serie SUW/UW, 1915

Oil on canvas

61 1/4 x 45 1/2 inches (155.5 x 115.5 cm)


X.2017.630

Ramp 4, Bay 42





Serie SUW/UW, 1915

Oil on canvas

61 x 50 13/16 inches (155 x 129 cm)


X.2017.628





Serie SUW/UW, 1915

Oil on canvas

61 x 51 3/16 inches (155 x 130 cm)


X.2017.627

Ramp 4, Bay 41

10/9/2018 23


10/12/2018 4/23/2019-

Ramp 4, Bay 41





Serie SUW/UW, 1915

Oil on canvas

60 5/8 x 50 9/16 inches (154 x 128.5 cm)


HaK 186

X.2017.626


Blue Notebook, Book IV, n.d.

Blåa böckerna, bok IV, n.d.

Notebook, 26 pages



HaK 1174

X.2018.10577


Blue Notebook, Book IX, n.d.

Blåa böckerna, bok IX, n.d.

Notebook, 82 pages



HaK 1179

X.2018.10664

Ramp 5, Bay 59


Group I, No. 1, 1916

The Parsifal Series, 1916

Grupp I, nr 1, 1916

Serie Parsifal, 1916


9 3/4 x 10 1/4 inches (24.8 x 26.1 cm)


HaK 202

X.2017.252


Group I, No. 39, 1916


Grupp I, nr 39, 1916


Watercolor, graphite, and metallic paint on paper

9 7/8 x 10 5/16 inches (25.1 x 26.2 cm)


HaK 243

X.2017.253

10/9/2018 24


10/12/2018 4/23/2019-

Ramp 5, Bay 59


Group I, No. 40, 1916





9 13/16 x 10 5/16 inches (25 x 26.2 cm)


HaK 244

X.2017.254


Group I, No. 41, 1916





9 15/16 x 10 1/4 inches (25.2 x 26.1 cm)


HaK 245

X.2017.255


Group III, No. 96, 1916


Grupp III, nr 96, 1916

Serie Parcifal, 1916


9 13/16 x 10 9/16 inches (25 x 26.8 cm)


HaK 306

X.2018.327







9 13/16 x 10 9/16 inches (25 x 26.9 cm)


HaK 307

X.2018.328

10/9/2018 25


10/12/2018 4/23/2019-

Ramp 5, Bay 59







9 13/16 x 10 9/16 inches (25 x 26.9 cm)


HaK 308

X.2017.262

Ramp 5, Bay 58







9 13/16 x 10 9/16 inches (24.9 x 26.8 cm)


HaK 320

X.2017.265







9 3/4 x 10 9/16 inches (24.7 x 26.8 cm)


HaK 321

X.2017.266




Grupp 3, nr 114, 1916


Watercolor on paper

9 13/16 x 10 9/16 inches (25 x 26.8 cm)


HaK 322

X.2017.648

10/9/2018 26


10/12/2018 4/23/2019-

Ramp 5, Bay 58







10 9/16 x 9 13/16 inches (26.9 x 25 cm)


HaK 324

X.2017.267







10 5/8 x 9 13/16 inches (27 x 25 cm)


HaK 326

X.2017.649







10 9/16 x 9 13/16 inches (26.9 x 25 cm)


HaK 327

X.2017.269







10 5/8 x 9 13/16 inches (27 x 25 cm)


HaK 328

X.2017.650

Ramp 5, Bay 57

10/9/2018 27


10/12/2018 4/23/2019-

Ramp 5, Bay 57


Group II, Ether Convolute, No. 60, 1916


Grupp II, Eterkonvolutet, Nr 60, 1916



10 9/16 x 9 13/16 inches (26.9 x 24.9 cm)


HaK 269

X.2018.322




Grupp II, Eterkonvolutet, nr 61, 1916



10 9/16 x 9 13/16 inches (26.8 x 25 cm)


HaK 270

X.2018.323


Group II, No. 62, 1916





9 13/16 x 10 9/16 inches (24.9 x 26.8 cm)

The Hilma af Klint foundation, Stockholm

HaK 271

X.2018.324







9 13/16 x 10 9/16 inches (24.9 x 26.9 cm)


HaK 272

X.2017.631

10/9/2018 28


10/12/2018 4/23/2019-

Ramp 5, Bay 57







9 13/16 x 10 9/16 inches (25 x 26.8 cm)


HaK 273

X.2017.632







9 3/4 x 10 9/16 inches (24.8 x 26.8 cm)


HaK 274

X.2017.633


Group II, The Convolute of the Astral Forces, No. 68, 1916


Grupp II, De Astrala Krafternas Konvolut, nr 68, 1916



10 9/16 x 9 3/4 inches (26.8 x 24.8 cm)


HaK 278

X.2017.634


Group II, The Convolute of Astral Forces, No. 69, 1916





10 9/16 x 9 3/4 inches (26.8 x 24.8 cm)


HaK 279

X.2017.260

10/9/2018 29


10/12/2018 4/23/2019-

Ramp 5, Bay 57







10 9/16 x 9 3/4 inches (26.9 x 24.8 cm)


HaK 280

X.2017.261







10 9/16 x 9 3/4 inches (26.8 x 24.8 cm)


HaK 281

X.2017.635







10 9/16 x 9 3/4 inches (26.8 x 24.8 cm)


HaK 282

X.2017.636


Group II, The Convlute of the Astral Forces, No. 73, 1916


Grup II, De Astrala Krafternas Konvolut, nr 73, 1916



10 9/16 x 9 13/16 inches (26.8 x 24.9 cm)


HaK 283

X.2018.325

10/9/2018 30


10/12/2018 4/23/2019-

Ramp 5, Bay 57


Group II, The Convolute of the Physical Level, No. 84, 1916


Grupp II, Det Fysiska Planets Konvolut, nr 84, 1916



10 9/16 x 9 13/16 inches (26.9 x 24.9 cm)


HaK 294

X.2017.642







10 9/16 x 9 13/16 inches (26.9 x 24.9 cm)


HaK 295

X.2018.326







10 9/16 x 9 13/16 inches (26.9 x 24.9 cm)


HaK 296

X.2017.644







10 9/16 x 9 13/16 inches (26.9 x 24.9 cm)


HaK 297

X.2017.686

10/9/2018 31


10/12/2018 4/23/2019-

Ramp 5, Bay 57







10 9/16 x 9 13/16 inches (26.9 x 24.9 cm)


HaK 298

X.2017.646







10 9/16 x 9 13/16 inches (26.9 x 24.9 cm)


HaK 299

X.2017.647

Ramp 5, Bay 56


No. a, 1917

The Atom Series, 1917

Nr a, 1917

Serie Atomen, 1917

Watercolor on paper

10 5/8 x 9 13/16 inches (27 x 24.9 cm)


HaK 351

X.2017.651


No. b, 1917


Nr b, 1917

Serie Atomen, 1917


10 9/16 x 9 13/16 inches (26.9 x 25 cm)


HaK 352

X.2017.652

10/9/2018 32


10/12/2018 4/23/2019-

Ramp 5, Bay 56


No. 1, 1917


Nr 1, 1917

Serie Atomen, 1917


10 5/8 x 9 13/16 inches (27 x 24.9 cm)


HaK 353

X.2017.653


No. 4, 1917


Nr 4, 1917

Serie Atomen, 1917


10 5/8 x 9 13/16 inches (26.8 x 24.8 cm)


HaK 356

X.2017.654


No. 5, 1917


Nr 5, 1917

Serie Atomen, 1917


10 9/16 x 9 3/4 inches (26.8 x 24.8 cm)


HaK 357

X.2017.270


No. 11, 1917


Nr 11, 1917

Serie Atomen, 1917


10 9/16 x 9 13/16 inches (26.9 x 25 cm)


HaK 363

X.2017.656

10/9/2018 33


10/12/2018 4/23/2019-

Ramp 5, Bay 56


No. 15, 1917


Nr 15, 1917

Serie Atomen, 1917


10 9/16 x 9 13/16 inches (26.9 x 25 cm)


HaK 367

X.2017.657


Motacilla Alba: Wagtail with Guidelines, 1919

Series I, 1919

Motacilla Alba: Sädesärlans Riktlinjer, 1919

Serie I, 1919


14 3/16 x 19 11/16 inches (36 x 50 cm)


HaK 456a

X.2017.659


Violet Blossoms with Guidelines, 1919

Series I, 1919

Violblommor med Riktlinjer, 1919

Serie I, 1919


19 11/16 x 10 9/16 inches (50 x 26.8 cm)


HaK 457

X.2017.1191

Ramp 5, Bay 55


No. 1. Starting Picture, 1920

Series II, 1920

Nr 1. Utgångsbild, 1920

Serie II, 1920

Oil on canvas

10 5/8 x 14 3/8 inches (27 x 36.5 cm)


HaK 468

X.2017.273

10/9/2018 34


10/12/2018 4/23/2019-

Ramp 5, Bay 55


No. 2a. The Current Standpoint of the Mahatmas, 1920

Series II, 1920

Nr 2a. Mahatmernas nuvarande ståndpunkt, 1920

Serie II, 1920

Oil on canvas

14 3/8 x 10 5/8 inches (36.5 x 27 cm)


HaK 469

X.2017.274


No. 2b. The Jewish Standpoint at the Birth of Jesus, 1920

Series II, 1920

Nr 2b. Judarnas ståndpunkt vid Jesu födelse, 1920

Serie II, 1920

Oil on canvas

14 3/8 x 10 5/8 inches (36.5 x 27 cm)


HaK 470

X.2017.275


No. 3a. Buddha’s Standpoint in Worldly Life, 1920

Series II, 1920

Nr 3a. Budhas ståndpunkt i jordelifvet, 1920

Serie II, 1920

Oil on canvas

14 9/16 x 11 inches (37 x 28 cm)


HaK 471

X.2017.276


No. 3b. The Standpoints of Judaism and Heathendom, 1920

Series II, 1920

Nr 3b. Judendomens och hedendomens ståndpunkt, 1920

Serie II, 1920

Oil on canvas

14 3/8 x 10 5/8 inches (36.5 x 27 cm)


HaK 472

X.2017.277

10/9/2018 35


10/12/2018 4/23/2019-

Ramp 5, Bay 55


No. 3c. The Mohammedan Standpoint, 1920

Series II, 1920

Nr 3c. Muhamedanska ståndpunkten, 1920

Serie II, 1920

Oil on canvas

14 3/8 x 10 5/8 inches (36.5 x 27 cm)


HaK 473

X.2017.278


No. 3d. The Teachings of Buddhism, 1920

Series II, 1920

Nr 3d. Budhismens lärosystem, 1920

Serie II, 1920

Oil on canvas

14 3/4 x 11 inches (37.5 x 28 cm)


HaK 474

X.2017.279


No. 3d+ The Christian Religion, 1920

Series II, 1920

Nr 3d+ Den kristna religionen, 1920

Serie II, 1920

Oil on canvas

14 9/16 x 10 5/8 inches (37 x 27 cm)


HaK 475

X.2017.280

Ramp 5, Bay 54


No. 1, 1920

Series V, 1920

Nr 1, 1920

Serie V, 1920

Oil on canvas

14 15/16 x 10 5/8 inches (38 x 27 cm)


HaK 497

X.2017.287

10/9/2018 36


10/12/2018 4/23/2019-

Ramp 5, Bay 54


No. 2a, 1920

Series V, 1920

Nr 2a, 1920

Serie V, 1920

Oil on canvas

15 3/8 x 11 inches (39 x 28 cm)


HaK 498

X.2017.288


No. 2b, 1920

Series V, 1920

Nr 2b, 1920

Serie V, 1920

Oil on canvas

15 3/8 x 11 inches (39 x 28 cm)


HaK 499

X.2017.289


No. 3a, 1920

Series V, 1920

Nr 3a, 1920

Serie V, 1920

Oil on canvas

15 3/4 x 11 1/4 inches (40 x 28.5 cm)


HaK 500

X.2017.290


No. 3b, 1920

Series V, 1920

Nr 3b, 1920

Serie V, 1920

Oil on canvas

15 3/4 x 11 1/4 inches (40 x 28.5 cm)


HaK 501

X.2017.291

10/9/2018 37


10/12/2018 4/23/2019-

Ramp 5, Bay 54


No. 3c, 1920

Series V, 1920

Nr 3c, 1920

Serie V, 1920

Oil on canvas

15 9/16 x 11 1/4 inches (39.5 x 28.5 cm)


HaK 502

X.2017.292


No. 4, 1920

Series V, 1920

Nr 4, 1920

Serie V, 1920

Oil on canvas

15 3/8 x 11 inches (39 x 28 cm)


HaK 504

X.2017.294


No. 5, 1920

Series V, 1920

Nr 5, 1920

Serie V, 1920

Oil on canvas

15 3/8 x 11 1/4 inches (39 x 28.5 cm)


HaK 505

X.2017.295


No. 6, 1920

Series V, 1920

Nr 6, 1920

Serie V, 1920

Oil on canvas

15 3/8 x 11 1/4 inches (39 x 28.5 cm)


HaK 506

X.2017.296

10/9/2018 38


10/12/2018 4/23/2019-

Ramp 5, Bay 54


No. 7, 1920

Series V, 1920

Nr 7, 1920

Serie V, 1920

Oil on canvas

15 3/16 x 10 13/16 inches (38.5 x 27.5 cm)


HaK 507

X.2017.297

Ramp 5, Bay 53


No. 2a, 1920

Series IV, 1920

Nr 2a, 1920

Serie IV, 1920

Oil on canvas

15 3/4 x 11 13/16 inches (40 x 30 cm)


HaK 485

X.2017.281


No. 2b, 1920

Series IV, 1920

Nr 2b, 1920

Serie IV, 1920

Oil on canvas

15 3/4 x 11 13/16 inches (40 x 30 cm)


HaK 486

X.2017.282


No. 2c, 1920

Series IV, 1920

Nr 2c, 1920

Serie IV, 1920

Oil on canvas

15 3/4 x 11 13/16 inches (40 x 30 cm)


HaK 487

X.2017.283

10/9/2018 39


10/12/2018 4/23/2019-

Ramp 5, Bay 53


No. 2d, 1920

Series IV, 1920

Nr 2d, 1920

Serie IV, 1920

Oil on canvas

15 3/4 x 11 13/16 inches (40 x 30 cm)


HaK 488

X.2017.284

Ramp 5, Bay 52


Untitled, 1922

On the Viewing of Flowers and Trees, 1922

Vid betraktande av blommor och träd, 1922

Watercolor on paper

7 1/16 x 9 13/16 inches (18 x 25 cm)


X.2017.298


Untitled, 1922



Watercolor on paper

7 1/16 x 9 13/16 inches (18 x 25 cm)


X.2017.299


Untitled, 1922



Watercolor on paper

7 1/16 x 9 13/16 inches (18 x 25 cm)


X.2017.300


Ear of Grain, 1922


Sädesax, 1922


Watercolor on paper

6 3/4 x 9 3/4 inches (17.2 x 24.8 cm)


X.2017.304

10/9/2018 40


10/12/2018 4/23/2019-

Ramp 5, Bay 52


Untitled, 1924

Titel saknas, 1924

Watercolor on paper

13 3/4 x 9 3/4 inches (35 x 24.8 cm)


HaK 689

X.2017.307


Untitled, 1924

Titel saknas, 1924

Watercolor on paper

13 3/4 x 9 13/16 inches (35 x 25 cm)


HaK 690

X.2017.665

Ramp 5, Bay 51


Untitled, 1931

Titel saknas, 1931

Watercolor on paper

8 15/16 x 11 7/16 inches (22.7 x 29 cm)


HaK 790

X.2017.673


Untitled, 1941

Titel saknas, 1941

Watercolor on paper

19 3/8 x 13 1/4 inches (49.2 x 33.6 cm)


HaK 1021

X.2017.683


Untitled, 1931

Titel saknas, 1931

Watercolor on paper

13 3/4 x 10 1/4 inches (35 x 26.1 cm)


HaK 793

X.2017.674

10/9/2018 41


10/12/2018 4/23/2019-

Ramp 5, Bay 51


Untitled, 1941

Titel saknas, 1941

Watercolor on paper

19 5/16 x 13 1/4 inches (49 x 33.7 cm)


HaK 1019

X.2017.682


Untitled, 1931

Titel saknas, 1931

Watercolor on paper

13 3/4 x 10 1/4 inches (35 x 26.1 cm)


HaK 794

X.2017.675


Untitled, 1931

Titel saknas, 1931

Watercolor on paper

13 3/4 x 10 1/4 inches (35 x 26.1 cm)


HaK 796

X.2017.677

10/9/2018 42

· no. 2a, the current standpoint of the mahatmas (nr 2a, mahatmernas nuvarande ståndpunkt), 1920...

Documents