Art Appreciation: Hilma af Klint: Swedish painter, spiritualist and pioneer of abstract art
Course details
Course code
Q00019199Course date
Number of classes
1 sessionsTimetable
Tutor
Caroline LevisseFee range
How you'll learn
Venue
OnlineLevel of study
Entry Levels 1,2,3: If you have never studied this subject before and you’re not confident in your skills, Entry levels are a good starting point.
Level 1: Covers basic skills and knowledge needed for this subject
Level 2: Building on basic knowledge or experience. Similar to Grade 4/ C at GCSE or O level in England or Standards in Scotland.
Level 3: Learn about the topic in-depth and have a broad range of skills. Independent working Equivalent to an A level in England or Higher in Scotland.
Beginners: A perfect introduction if you have no experience and skills in this subject.
Improvers: The next step if you have basic skills or knowledge but want to progress them further.
Advanced: Build on the solid experience and skills you have in this subject, applying your skills and knowledge in a more complex way.
Course overview
Course description
In this session, you will discover and discuss the art and life of a Swedish painter, Hilma af Klint (1862-1944). As we study her career, we will come back on the roots of abstract art as well as the idea of being “the first”. Hilma af Klint trained to become a painter and became known, professionally, for her landscapes and portraits. What most did not know was that she was also a medium, and had embarked on realising a series of ambitious canvases, spiritual in content and abstract in aesthetic. In our session’s first part, you will learn about Hilma af Klint’s art and the different stages in her career. In a second part, we will compare and contrast her abstract paintings and watercolours, as well as her ideas with that of well-known abstract early painters: Kandinsky and Mondrian, but also Kupka and Dove. For all of them, spiritual ideas were crucial in developing an abstract style. We will discuss reasons why Hilma af Klint did not receive the same recognition as the others. Finally, as we seek to understand Hilma af Klint’s position within the history of modern art today, we will come back on the idea of “precedence” and “invention” with a critical eye. As we do so, we will discover the works of another woman and medium who was also an artist and who did abstract spiritualist drawings as early as 1870: Georgiana Houghton.
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