Hilma af Klint’s The Large Figure Paintings, No. 5, Group 3 (1907) is a captivating example of her early journey into abstract art and spirituality. This work, part of her ambitious series The Paintings for the Temple, embodies her pursuit of deeper spiritual understanding through visual symbolism and form. The painting features large, swirling shapes and vibrant colours, with each element designed to represent metaphysical ideas and energies. The swirling patterns and symmetrically positioned figures evoke a sense of cosmic order and spiritual balance, suggesting af Klint’s belief in an interconnected universe governed by duality and harmony. Through this piece, she explores concepts like spiritual ascension and the union of opposites, themes that were central to her artistic and philosophical outlook.
Af Klint’s creative process for The Large Figure Paintings, No. 5 was closely tied to her spiritual practices and her belief in divine inspiration. She was a member of The Five, a group of women who engaged in spiritualist activities like seances to commune with what they believed were higher beings. Af Klint felt that she was guided by these spirits, which she called the “High Masters,” and saw herself as a channel for their messages. Her paintings were created not only from personal inspiration but also as part of what she believed was a larger spiritual mission. This process involved meditative states and rituals, where she would surrender conscious control and let spiritual energies guide her hand, resulting in works like The Large Figure Paintings that she considered “commissioned” by these higher forces.
The symbolism in The Large Figure Paintings, No. 5 is multi-layered and steeped in af Klint’s understanding of spiritual dualities and cosmic principles. The symmetrical forms in this painting could represent the unity of male and female energies, or the balance of the physical and spiritual realms. The swirling shapes and vibrant colours seem to convey movement and growth, suggesting a spiritual journey or transformation. The vivid contrasts in colour and shape illustrate af Klint’s belief in the complementary nature of opposites—light and dark, matter and spirit. These symbols align with her Theosophical beliefs, which were centred on understanding the hidden spiritual forces that she felt governed life. By representing these abstract ideas visually, af Klint sought to make the invisible and intangible accessible to those who engaged with her work.
Born in 1862 in Sweden, Hilma af Klint began her career in traditional art before her spiritual beliefs led her towards abstraction. She was influenced by spiritual movements like Theosophy and Anthroposophy, which proposed that art could reveal insights into the unseen world. Af Klint’s dedication to these beliefs led her to create a large body of abstract work long before her contemporaries in Europe, such as Kandinsky and Mondrian, ventured into non-representational art. Despite her ground-breaking approach, af Klint feared that her work would be misunderstood, so she kept much of it private. She instructed that her abstract pieces remain hidden for at least twenty years after her death, and as a result, her contributions were largely unrecognised until the late 20th century, when she finally gained acknowledgment as a pioneer of abstract art.
Today, The Large Figure Paintings, No. 5 is celebrated not only for its aesthetic innovation but also for its spiritual depth. Its vibrant colours and swirling forms invite viewers to contemplate concepts of unity, duality, and spiritual progress. Af Klint’s work remains a profound statement on the interconnectedness of art and spirituality, and her legacy has redefined our understanding of modern abstract art, showing that it can serve as a medium for spiritual exploration. Her paintings continue to captivate and inspire audiences around the world, speaking to her vision of art as a bridge between the visible and invisible realms and as a timeless reflection of the human search for meaning and enlightenment.
