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Just before her death in 1944 at the age of 81, the Swedish painter and mystic Hilma af Klint stipulated that her paintings were not to be publicly exhibited for 20 years. In fact, another 40plus years were to pass before inklings of her vast oeuvre began to reach public consciousness, with the landmark 1987 exhibition and book The Spiritual in Art. Since then, critics, artists and historians have praised her with everincreasing awe, and today af Klints paintings, watercolors and sketchesnumbering over 1,000 in totalhave never looked so contemporary, presaging as they do the works of Beatriz Milhazes, Elizabeth Murray and Tal R., and Agnes Martin, Emma Kunz and Arthur Dove before them. For af Klint herself, as a medium for an art she was despairingly unable to comprehend, contemporaneity was irrelevant: her workmuch of which was dictated by a spirit guide named Anandaunfolded in complete ignorance of Kandinsky, Malevich or Mondrian, who likewise practised an abstraction informed by theosophy and occult philosophy. Af Klints abstractions preceded those of Kandinsky, who is usually credited with inventing abstract painting: as early as 1906, she was devising largescale canvases filled with grids, circles, spirals and petallike formssometimes diagrammatic, sometimes biomorphic. She was painting watercolor monochromes in 1916, and making automatic drawings long before the Surrealists. This monumental 280page monograph, with 200 color plates, is the first full Hilma af Klint overview. A landmark publication, it not only reveals the moving lucidity of her art, but challenges the narrative of abstract art in the twentieth century.
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