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. No. 7 depicts adulthood in full bloom. 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. 7 is one of the first examples of abstract art.
Springing from spiritualism and swarming with symbolism, color coding, and clues, The Ten Largest, No. 7, Adulthood, Group IV is a time traveller of sorts, a messenger from 1907 with a confoundingly contemporary air. We came face-to-face with this work at Hilma af Klint: Paintings for the Future, the exceptional Guggenheim exhibition (open through April 23rd!) where the original is displayed along with the rest of the series to which it belongs, a group of colossal paintings af Klint called The Ten Largest ... Read more on the blog!
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+ Limited-edition, exclusive to 20x200
+ Museum quality: archival inks, 100% cotton rag paper unless noted
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Museo Portfolio Rag
14"x11" | edition of 250