Abstraction: Hilma Af Klint

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Hilma Af Klint was a pioneer in the art world, born in Sweden, studied painting in one of the few academies where women were accepted, the Stockholm Academy of Arts. Klint was always a very spiritual woman, and since spiritualism was fashionable at the time that led her to experience even under hypnosis the way to portray those sensations in a pictorial work, always with caution since they could accuse her of being a witch, However, she managed to become independent with the painting, bringing sustenance to her table.
Hilma is considered the first woman, I rectify, the first person to perform abstract art, long before Kandinsky proposed the experience of color and form as the only way of expression, the big difference was that being a woman would not be taken seriously, so she decided to make those paintings in the shelter of the walls of her studio.

They stayed there because of the mentality that they were going to be undervalued and misunderstood works, in fact, when she died she told her relatives who exhibited their works twenty years later, and, of course, they did not take it seriously, leaving their paintings stored in an attic. Today, more than 1000 paintings are known created since 1906, but, in the same way it has not been given the boom she deserved.


They tens mainstay IV (1907)

In a warm color range it shows this nice and harmonious work that collects in it circles and spirals that are distributed throughout the composition; The orange, predominant color found in the background allows the shapes delineated in light tones to stand out towards the viewer's gaze, it is interesting that the spiral was used, since, as mentioned earlier Hilma sought to paint his spirituality, which better way to do it than through a pattern found in divine geometry, which is nature, the fact of abstractionism is that, as expressed by Sanchez, R. (2009), wanting to get rid of natural representation perhaps recognizes, with more force and radicality its existence, its presence and its enormous referential power.

The Swan (No.16) (1914-1915)

As in many of his works the circle is fundamental within the compositions, in this representation a little more austere to those he used to portray does not take away its quality, in fact, the totally black background allows you to squint towards the few colors that are they find inside, the red, the blue are divided in half to confer on their other side a violet in a high tone, all enclosed within a much larger white circle.


Info from:

https://historia-arte.com/artistas/hilma-af-klint
http://masdearte.com/hilma-af-klint-guggenheim-new-york/
https://www.wikiart.org/es/hilma-af-klint/all-works#!#filterName:all-paintings-chronologically,resultType:masonry

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