The Swan, No. 24 - Hilma af Klint
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Description
This oil on canvas painting by Hilma af Klint, 'The Swan, No. 17, Group IX/SUWA' (1914-1915), features intertwined black and white swans against a geometric background, symbolising duality and spiritual transformation.
Hilma af Klint (1862-1944) was a Swedish artist and mystic whose paintings are considered among the first abstract works in Western art history. She created her first abstract paintings in 1906, years before Kandinsky, Malevich, and Mondrian. Klint believed that she was acting as a medium, channeling messages from spiritual guides to create her art. Her work often explores themes of spirituality, theosophy, and the interconnectedness of all things. 'The Swan, No. 17, Group IX/SUWA' (1914-1915) is part of a series of paintings exploring duality and spiritual transformation. The image features two swans, one black and one white, intertwined against a background divided into quadrants of pink, white, grey, and brown. The swans' necks form a continuous loop, symbolising unity and the cyclical nature of existence. A golden chain connects the swans, suspending a pendant with a geometric symbol, possibly representing spiritual knowledge or enlightenment. The painting's muted colour palette and soft brushwork contribute to its ethereal and mystical atmosphere.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
The Swan, No. 24 - Hilma af Klint
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Specific Features
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- Dust gently with a soft, dry cloth
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Hilma af Klint
She was born in 1862 into a naval family in Stockholm. She showed early ability in both mathematics and botany, studied at the Royal Academy of Fine Arts, graduated with honours in 1887, and established herself as a conventional painter of landscapes and portraits. She also worked as a scientific illustrator, producing botanical drawings of fungi for a book that was never published. In 1919 and 1920 she drew flowers almost daily, creating jewel-toned watercolours with the precision of a naturalist who knew when each species bloomed.
The abstract work came from a different source. She attended her first seance at seventeen. In 1896 she formed a group called De Fem (The Five) with four other women: Anna Cassel, Cornelia Cederberg, Sigrid Hedman, and Mathilda Nilsson. They contacted what they believed to be spirit guides from another dimension and kept meticulous notes. In 1906, aged forty-four, she received instructions during a seance to create paintings for a Temple. She never understood where or what this Temple was, but she began.
The Paintings for the Temple series, 193 works made between 1906 and 1915, includes compositions that are completely abstract. She used a systematic colour symbolism: blue for femininity or spirituality, yellow for masculinity or intellect. Spirals, circles, and intersecting lines represented spiritual forces or natural processes. Where Kandinsky's abstraction looked inward to the artist's own psychology, af Klint believed astral spirits were working through her hands.
She died in 1944. The embargo lifted in 1964, but the work was not shown publicly until 1986. In 2018, the Guggenheim mounted Hilma af Klint: Paintings for the Future. It drew over 600,000 visitors, the most attended exhibition in the museum's history. She left behind more than 1,200 paintings and thousands of pages of notes.
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