Hilma af Klint’s Group IX, UW No. 25, The Dove, No. 1 (1915) is a striking work filled with rich spiritual symbolism and vivid abstract forms. As part of her Dove series, this painting embodies themes of peace, unity, and transformation, with the dove symbol traditionally representing purity and spiritual awakening. The composition is complex, featuring geometric shapes, bright colours, and symmetrically arranged forms that appear almost mandala-like. Through these shapes, af Klint explores the idea of unity across opposites, a theme central to her broader work. In The Dove, No. 1, the forms suggest a harmonious interplay between dualities—light and dark, masculine and feminine, material and spiritual—revealing her belief in a universe where all oppositions merge in divine harmony.
The creation of The Dove, No. 1 was strongly influenced by af Klint’s spiritual practices and her view of herself as a conduit for messages from higher realms. Af Klint was part of a spiritualist group called The Five, which believed in communicating with spiritual beings through seances and meditative practices. She felt that these spiritual guides, whom she referred to as the “High Masters,” were directing her work. This process was a defining characteristic of her art: af Klint saw herself not as the sole creator but as a channel for otherworldly forces to communicate universal truths through her. Unlike many artists of her time, she felt her work was “commissioned” by these spiritual guides, and she approached her painting sessions as a form of sacred ritual, creating with a sense of both purpose and reverence.
The abstract symbolism in The Dove, No. 1 carries significant meaning. The dove as a central symbol suggests peace, enlightenment, and the soul’s journey toward unity with the divine. The use of circular, symmetrical forms resembles a mandala, a structure often used in spiritual traditions to symbolise the cosmos or a path to enlightenment. The vibrant colours—soft pastels alongside deeper tones—create a sense of balance and evoke the idea of harmony within duality. These elements reflect af Klint’s Theosophical beliefs, which emphasised the blending of physical and spiritual worlds. Through the harmonious arrangement of shapes and colours, she conveys the idea that all forces are interconnected, urging viewers to contemplate the universal patterns that underpin existence and the potential for transcendence within the individual soul.
Hilma af Klint was born in 1862 in Sweden and trained as a traditional painter before evolving into one of the earliest pioneers of abstract art. Her interest in spiritual movements like Theosophy and Anthroposophy greatly influenced her artistic direction, leading her to believe that art could serve as a bridge to higher dimensions of reality. This belief set her apart from her contemporaries and drove her to create works that reflected complex spiritual philosophies rather than personal expressions. Despite her groundbreaking contributions to abstract art, af Klint felt that her work would be misunderstood in her time. She instructed that her abstract pieces not be shown for at least twenty years after her death, believing they were intended for future generations more receptive to her ideas.
Today, The Dove, No. 1 is celebrated not only for its aesthetic beauty but also for its deep spiritual resonance. The painting invites viewers to explore themes of peace, interconnectedness, and the potential for spiritual growth, reflecting af Klint’s vision of art as a tool for enlightenment. Her legacy challenges the narrative of modern art history, establishing her as a key figure who bridged the material and spiritual through abstraction. As interest in her work grows, her paintings continue to inspire and connect audiences with her timeless message of unity and the boundless potential of the human soul. The Dove, No. 1 remains a powerful testament to af Klint’s visionary approach, revealing how art can transcend time to explore the mysteries of existence and the universal search for meaning.
