Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Kaos, Nr 2 - Hilma af Klint
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Beskrivning
"Chaos, nr 2" är en abstrakt oljemålning med virvlande former och himmelska motiv i dämpade blå, krämiga och gula toner, vilket skapar en drömlik och dynamisk komposition.
Denna abstrakta oljemålning, med titeln "Chaos, nr 2", presenterar en komposition av virvlande former och himmelska motiv mot en mörk bakgrund. Färgpaletten domineras av dämpade blå, krämiga och gula toner, vilket skapar en drömlik atmosfär. Penseldragen är lösa och expressiva, med synliga streck som bidrar till känslan av rörelse och energi. Målningen har en stor, kommformad figur i övre mitten, utförd i blekt blått och vitt. Under den avger en mindre cirkel ett gult, stjärnliknande sken. Dessa former är förbundna av en ström av ljus, vilket antyder en koppling mellan himlakroppar. Den nedre delen av målningen innehåller en klunga av mörkblå och vita former, möjligen representerande ett jordiskt element. Spridda över kompositionen finns tunna, orangea linjer som bidrar till känslan av oordning. Den övergripande effekten är av dynamisk fluktuation, vilket framkallar konceptet kaos som en generativ kraft. Målningens abstrakta natur inbjuder betraktaren att tolka dess symbolism och finna sin egen mening bland dess virvlande former.
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Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
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Kaos, Nr 2 - Hilma af Klint
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Hilma Af Klint
Hilma af Klint was painting abstract art in 1906. Kandinsky's first abstract works are generally dated to 1910 or 1911. Malevich and Mondrian came later still. She predated them all by years, and nobody knew, because she stipulated that her work should not be shown until twenty years after her death.
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.
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.
Våra funktioner
Utformad för varaktig inverkan
Specifika funktioner
Varje Solis-konstverk tillverkas på beställning med arkivbeständiga material av gallerikvalitet som är byggda för att hålla.
- Giclée-tryck i museikvalitet för fylliga, blekningsbeständiga färger
- Arkivbeständigt matt konstpapper, FSC-certifierat
- Flera storlekar och inramningsalternativ tillgängliga
- Ramar i svart, naturträ, mörkt trä eller vitt
- Inramade tryck levereras klara att hänga upp
Skötsel & rengöring
För att bevara ditt konstverk i bästa skick:
- Damma försiktigt med en mjuk, torr trasa
- Undvik långvarigt direkt solljus
- Använd aldrig flytande rengöringsmedel på trycket eller dukytan
- Förvara på en torr plats i rumstemperatur
- Hantera tryck med rena, torra händer
Material och storlek
Gicléeutskrift av museikvalitet på FSC-certifierat matt arkivpapper, med inramade alternativ och alternativ på canvas.
- Pappersstorlekar: A4, A3, A2, A1, A0 och B2 (50×70 cm)
- Canvas: XS (20×30 cm) till Large (60×90 cm)
- Ramar: svart, naturligt trä, mörkt trä eller vit
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Premium Box Frame
From £85
A deeper solid wood frame: 33mm deep with a 20mm face and Perspex glaze. The print sits unmounted for a clean gallery presentation. Black, white or natural.
Canvas
From £30
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
Framed Canvas
From £135
Stretched canvas set in a floating wood frame, our most substantial finish. Arrives ready to hang.
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Artistbiografi
Hilma af Klint was painting abstract art in 1906. Kandinsky's first abstract works are generally dated to 1910 or 1911. Malevich and Mondrian came later still. She predated them all by years, and nobody knew, because she stipulated that her work should not be shown until twenty years after her death.
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.
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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