Hilma upphandling
She felt the abstract work and the meaning within were so groundbreaking that the world was not ready to see it, and she wished for the work to remain unseen for 20 years after her death. The spiritual would continue to be the main source of creativity throughout the rest of her life. Understood as gates to other dimensions, her paintings call for interpretation on a narrative, esoteric and artistic level while evoking primordial geometry and humanistic motifs.
From her family, Hilma af Klint inherited a great interest for mathematics and botany. At the Academy of Fine Arts she met Anna Cassel , the first of the four women with whom she later worked in "The Five" De Fem , a group of artists who shared her ideas. She wrote in her notebook:. Her experiments in spiritual investigation started in In she met Rudolf Steiner , the founder of the Anthroposophical Society , who was visiting Stockholm.
In these idyllic surroundings she came into contact with nature at an early stage in her life, and a deep association with natural forms was to be an inspiration in her work. The works for the Temple were created between and , carried out in two phases with an interruption between and As af Klint discovered her new form eller gestalt of visual expression, she developed a new artistic language.
Hilma af Klint Swedish pronunciation: [ˈhɪ̂lːma ˈɑːv ˈklɪnːt] ; 26 October — 21 October was a Swedish artist and mystic whose paintings are considered among the first abstract works known in Western art history. She showed an early ability in visual art and, after the family moved to Stockholm, she studied at Tekniska skolan now Konstfack in Stockholm, where she learned portraiture and landscape painting.
However, she continued to pursue abstract painting, now independent from any external influence. All of The fem were interested in the paranormal and regularly organized spiritistic séances. The pictures were painted directly through me, without any preliminary drawings, and with great force. Quite apart from their diagrammatic purpose the paintings have a freshness and a modern aesthetic of tentative line and hastily captured image: a segmented circle, a helix bisected and divided into a spectrum of lightly painted colours.
Tvåspråkiga upphandlingar kräver att Hilma utvecklas
The collection for the Temple is paintings, grouped within several sub-series. Her later paintings are significantly smaller in size. When Hilma af Klint had completed works for the Temple, the spiritual guidance ended. I had no idea what the paintings were supposed to depict; nevertheless I worked swiftly and surely, without changing a single brush stroke. The Swan and the Dove , names of two series of the Paintings for the Temple , are also symbolic, representing respectively transcendence and love.
In her younger sister Hermina died, and it was at this time that the spiritual dimension of her life began to develop. The works of Hilma af Klint are mainly spiritual, and her artistic work is a consequence of this. Her conventional painting became the source of her income, but her 'life's work' remained a quite separate practice. One, Gregor, announced, "All the knowledge that is not of the senses, not of the intellect, not of the heart but is the property that exclusively belongs to the deepest aspect of your being Through her work with The Five , Hilma af Klint created experimental automatic drawing as early as , leading her toward an inventive geometric visual language capable of conceptualizing invisible forces both of the inner and outer worlds.
Hilma af Klint felt she was being directed by a force that would literally guide her hand.
HILMAs upphandlingsstatistik för 2021 publicerad: Upphandling
Af Klint's work can be understood in the wider context of the modernist search for new forms in artistic, spiritual, political, and scientific systems at the beginning of the twentieth century. Hilma af Klint began working in Stockholm, gaining recognition for her landscapes, botanical drawings, and portraits.
The same building also held Blanch's Café and Blanch's Art galleri, where conflict existed between the conventional art view of the Academy of Fine Arts and the opposition movement of the Art Society Konstnärsförbundet , inspired by the French plein air painters. This series, called The Ten Largest , describes the different phases of life, from early childhood to old age. As Hilma af Klint pursued her artistic and esoteric research, it is possible to perceive a certain inspiration from the artistic theories developed by the Anthroposophical gemenskap from onward.
Several years later, in , she met him again at the Goetheanum in Dornach , Switzerland, the headquarters of the Anthroposophical Society. The artistic world of Hilma af Klint is impregnated with symbols, letters, and words. Her painting became more autonomous and more intentional. Between and she spent long periods at the Goetheanum. This was the main cultural hub in the Swedish capital at that time. This would be followed by a séance.
She was admitted to the Royal Academy of Fine Arts at the age of twenty. She painted among others a series depicting the stand-points of different religions at various stages in history, as well as representations of the duality between the physical being and its equivalence on an esoteric level. The paintings often depict symmetrical dualities, or reciprocities: up and down, in and out, earthly and esoteric, male and female, good and evil.
Later in life, Hilma af Klint lived permanently on Munsö , an island next to Adelsö. Hilma af Klint was the fourth child of Mathilda af Klint née Sonntag and Captain Victor af Klint, a Swedish naval commander, and she spent summers with her family at their manor, "Hanmora", on the island of Adelsö in Lake Mälaren.