A unique portfolio of the botanical drawings of Hilma Af Klint, communicates with the spiritual side of nature – colossal

a vertical piece of paper with a watercolor rendering of a variety of flowers accompanied by esoteric geometric shapes

With the industrial revolution in full swing at the beginning of the 20th century, jobs and opportunities attracted people to grow cities. New technologies were developed with Breakneck speed and discoveries within the natural sciences introduced people in invisible but powerful concepts such as radio waves and X -rays.

During this period of social transformation, philosophical or occult religious movements such as spiritualism and Helena Blavatsky’s Theosophy offered ways to not only make contact with a like-minded community, but also to explore the hereafter-the so-called Spirit World-and the material of the universe.

“Sunflower (Solrosen)” From the portfolio ‘Dornach Nature Studies’, watercolor, pencil, ink and metal paint on paper from a portfolio of 46 drawings, plate: 19 3/4 × 10 9/16 inch

For Hilma AF Klint (1862–1944), such as many who sought refuge and inspiration in these religious systems, united a spiritual link to her environment with the natural world during “a period of mass change … while people from all the levels of society were looking for something new to hold”, spiritual journey.

Can now be seen in the Museum of Modern Art in New York, Hilma Af Klint: what is behind the flowers highlights the recent acquisition by setting a phenomenal, 46-magazine portfolio called Nature studies.

During the spring and summer of 1919 and 1920, Klint the seasonal flora van Sweden recorded, from lilies of the valley and sunflowers to violets and cherry blossoms. In addition to traditional botanical studies, the artist absorbs her characteristic abstractions and diagrams, around every display with esoteric annotations and geometries.

“One has to think of the realm of nature spirits as the realm of thinking; these entities are floating around us, some like winds, others as a soft summer breeze,” Klint once said.

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“Lily of the Valley, Water Avens, Common Milkwort (Liljekonvaljen, Fårkummern, Jungfrulinet)” of the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, ink and metallic paint on paper: 19 5/8 inpolio of 46 Signs, plate, plate: 196 signs, plate: 196 signs, plate: 196 signs, plate: 196 signs, plate: 196 signs, plate: 196 signs, plate: 196 signs, plate: 196 signs, plate: 196 signs, plate: 196 signs, plate: 196 signs: 19 5/8 signs: 19 5/8 signs: 19 5/8 signs: 19 5/8 signs: 19 5/8 signs: 19 5/8 signs: 19 5/8. Inches: 19 5/8 inch

Rasters with unique color relationships or energetic spirals accompany Renderings from Field Woodrush or Marsh Charigold, and tree monsters are linked to dotted line. “Through these forms, Klint tries to reveal in her words:” What is behind the flowers, “says the museum,” reflects her conviction that studying nature reveals truths about human condition. “

What is behind the flowers Continues until 27 September and is accompanied by a catalog that is planned for release on Tuesday. Find your copy Bookstoreand plan your visit to Moma at the museum website.

“Yellow Star-of-Bethlehem, Lungwort, Coltsfoot, Nailwort, Pasqueflower (Vårlöken, Lungörten, Hästhoförten, Nagelörten, backsippan)” van de portefeuille ‘Dornach Nature Studies’ (1919), waterkolor, potlood en inkt op papieren van een portroute van 46 draden, blad: 19 5 9/16 inches
“Common Lime (Linden)” of the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, ink and metal paint on paper from a portfolio of 46 drawings, leaf: 19 5/8 × 10 5/8 inches
“Tulip (Tulphans)” From the portfolio ‘Dornach Nature Studies’ (1920), watercolor, pencil, ink and metal paint on paper from a portfolio of 46 drawings, leaf: 19 5/8 × 10 5/8 inches

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