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This volume gathers essays examining the last abstract series created by Hilma af Klint (1862-1944), the result of a series of lectures delivered during the 2016 Serpentine Galleries exhibition Hilma af Klint: Painting the Unseen. The paintings were all produced in the first half of the year 1920 and represent the final works af Klint made before turning to watercolor.
Complementing the reproductions of these images are essays from Briony Fer, David Lomas, Branden W. Joseph, Hans Ulrich Obrist and Daniel Birnbaum, which shed new light on af Klint and her significance for artists today. The essays also address the need for a broader conception of art history that her work proposes.
Beautifully redesigned by Sweden's most famous designer, this handsomely reworked edition serves as a key contribution to the burgeoning scholarship on this immensely popular painter. Hilma af Klint's final abstract series, the focus of this volume, were created in the first half of 1920 and marked the conclusion of her painting in oils before transitioning to watercolor.
The essays featured in this book, stemming from a series of lectures delivered during the 2016 Serpentine Galleries exhibition Hilma af Klint: Painting the Unseen, offer fresh perspectives on af Klint and the profound impact of her work. Acclaimed writers such as Briony Fer, David Lomas, Branden W. Joseph, Hans Ulrich Obrist and Daniel Birnbaum explore af Klint's significance for artists today and the need to expand traditional conceptions of art history to fully account for her pioneering abstract paintings.
Beautifully redesigned, this volume represents a crucial addition to the growing body of scholarship on this influential and increasingly celebrated figure. Hilma af Klint's late abstract series, the subject of this collection, marked the culmination of her painting in oils before she turned her focus to watercolor. The essays featured here, stemming from lectures presented during the 2016 Serpentine Galleries exhibition, shed new light on af Klint's work and its profound relevance for contemporary art and art historical discourse.
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