The Swan, No. 1
by Hilma af Klint
THE PRINT
When Hilma af Klint (1862–1944) began creating radically abstract paintings in 1906, they were like little that had been seen before: bold, colourful, and untethered from any recognisable references to the physical world. It was several years before Vasily Kandinsky, Piet Mondrian and others would take similar strides to free their own artwork of representational content. Yet af Klint rarely exhibited her groundbreaking paintings and, convinced the world was not ready for them, stipulated that they not be shown for twenty years following her death. Ultimately, her abstractions remained all but unseen until 1986.
The majestic swan symbolised the ‘grandeur of the spirit’ to Helena Blavatsky, founder of Theosophy, a spiritualist movement of great interest to Hilma af Klint; in alchemy, the swan represents the union of opposites necessary for the creation of the philosopher’s stone, a substance believed to turn base metals into gold.
In this series, af Klint blends such established symbolism with her own idiosyncratic interpretations. The first painting portrays two swans – one black (male, with yellow beak), the other white (female, with blue face and feet). This stark palette underscores the dualities of light and dark, male and female, life and death.
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