The Ten Largest, No. 2, Childhood, Group IV (quick-ship)

by Hilma af Klint

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Artist Statement

In the 1890s, Hilma af Klint began meeting regularly with a group of female artists who together became known as “The Five”. The Five practiced various forms of spiritualism, believing they could communicate with a higher consciousness. Af Klint thought herself directed by this otherworldly force to create a group of paintings called The Ten Largest for “The Temple”, an entity never wholly defined or understood. Standing at a colossal 10 feet high and 8 feet wide, each painting in the series represents a different phase of life from early childhood to old age. Botanical and biomorphic forms float in a diagram heavy with symbolism and alive with meditative movement. By the early 1900s, af Klint had developed a distinct spiritual style hallmarked by the interplay of the natural and supernatural. Stylistically unbound to the artistic conventions of the time, No. 2 is one of the first examples of abstract art.

Why We Love It

"Af Klint’s Paintings for the Temple includes her 1907 The Ten Largest series—ten-foot-high pieces covered with buoyant organic shapes and vibrant colors channeling the lifecycle of a person. Three of these are now available on 20x200: The Ten Largest, No. 2, Childhood, Group IV (today’s new addition) is effervescent with young energy in its circular shapes; The Ten Largest, No. 3, Youth, Group IV is more complex but just as lively, with spiraling lines reminiscent of the intuitive flow of automatic drawing looping through colorful forms; and in The Ten Largest, No. 7, Adulthood, Group IV, a colossal curved yellow form is surrounded by an elaborate gathering of shapes, words, and numbers, all painted against a lavender background. To fully comprehend these works, it’s crucial to take af Klint’s spiritual appetite into consideration. Recognizing the sacred aspect of af Klint’s art also acknowledges the prominence of Spiritualism in the 19th and early 20th centuries in mainstream society" ... Read more from Allison Meier on the blog!

Details

+ This Quick Ship artwork ships in one business day.
+ This edition is not eligible for discount.
+ Limited-edition, exclusive to 20x200
+ Museum quality: archival inks, 100% cotton rag paper unless noted
+ Handcrafted custom-framing is not available.

Our quoted dimensions are for the size of paper containing the images, not the printed image itself. We do not alter the aspect ratio, nor do we crop or resize the artists’ originals. All of our prints have a minimum border of .5 inches to allow for framing.

Medium:

Museo Portfolio Rag

Edition Structure:
14"x11" | edition of 250

Hilma af Klint

Hilma af Klint (1862-1944) was a Swedish artist and spiritualist whose colossal works have become known as some of the first examples of abstract art. With an early interest in visual art, mathematics, and botany, af Klint attended the Royal Academy of Fine Arts in Stockholm where she excelled in landscape painting and portraiture. While making a living off commission from these conventional endeavors, af Klint became greatly involved in various forms of spiritualism including Anthroposophy, Theosophy, and Rosicrucianism. In the 1890s, she met four other female artists—together, they would become known as “The Five”. The Five met regularly, believing... Read More
they could communicate with a higher consciousness. These beliefs heavily influenced and even “directed” af Klint’s work. She created her first series of abstract works in 1906, predating other artists such as Kandinsky and Mondrian, who are often regarded as the “pioneers of abstraction”. Soon she began to develop a more intentional and independent expression of her ideas, incorporating biomorphic forms, mathematical proportions, and vibrant hues. Af Klint kept her abstract work hidden from her contemporaries, believing the art world was unready to fully understand it. Stipulating that it remain secret until 20 years after her death, her work was largely unknown until the 1980s. Af Klint painted for a future audience, one willing to embrace a female pioneer in the field and the holistic nature of her work.  
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