Forwards, Parcifal Series, Group 2, Section 4: The Convolute of the Physical Plane - Hilma af Klint
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A minimalist abstract work by Hilma af Klint featuring a square of orange watercolour and the Swedish word 'Framåt' in gothic script.
This work belongs to the Parcifal series, a collection created by Hilma af Klint in 1916. The composition features a singular, square block of orange pigment set against a neutral, off-white background. Below the square, the Swedish word 'Framåt' (Forwards) is inscribed in a traditional gothic script. The application of the watercolour is visible, showing variations in density and texture that suggest a meditative, manual process rather than a mechanical one.
Af Klint produced this series during a period of intense spiritual and esoteric exploration. Her work often functioned as a visual record of her communication with higher consciousness, moving away from the representational art common in the early twentieth century. The square serves as a geometric anchor, representing the physical plane, while the text provides a directional instruction. The simplicity of the form contrasts with the complex metaphysical theories that underpinned her practice. By isolating the colour and the word, the artist invites the viewer to consider the relationship between language, geometry, and spiritual progression.
This print captures the subtle tonal shifts of the original watercolour. The orange hue is warm and earthy, providing a quiet energy that does not overwhelm a space. It is an example of early abstraction, predating many of the movements that would later claim to have invented non-objective art. The piece remains a clear representation of af Klint's unique visual language, which combined scientific observation with occult philosophy. It is suitable for those interested in the history of modernism and the intersection of art and mysticism.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
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
Forwards, Parcifal Series, Group 2, Section 4: The Convolute of the Physical Plane - Hilma af Klint
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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