Hilma Af Klint And The Physics Of Abstraction
The intersection of art and science has long fascinated scholars, prompting investigations into the influences shaping artistic expression. A recent study by astronomer Britt Lundgren explores a compelling potential link between the abstract geometric works of Swedish artist Hilma af Klint and the scientific diagrams of 19th-century physicist Thomas Young. This connection, while initially met with skepticism, offers a rich avenue for understanding the creative process and the broader cultural context surrounding af Klint's groundbreaking abstract art.
Af Klint, a formally trained artist from the Royal Academy of Fine Arts in Stockholm, initially produced traditional works – portraits, botanical illustrations, and landscapes – to support herself. However, her true artistic passion lay in exploring spiritualism and mysticism, a pursuit she shared with "The Five," a group of like-minded female artists. Through séances and engagement with Theosophical teachings, af Klint developed an interest in visualizing invisible forces, leading her to abstract art.
In 1906, at the age of 44, she began creating her first abstract series, a departure from conventional artistic norms. Unlike many contemporary artists who embraced abstraction as a reaction against realism, af Klint's abstraction stemmed from her spiritual beliefs and her attempt to represent metaphysical realities. This unique origin profoundly affected her approach and aesthetic. She rarely exhibited her work during her lifetime, believing the art world was unprepared for its radical nature. Her will stipulated that her extensive body of over 1,200 abstract paintings remain hidden for at least two decades after her death.
Even after her works were made accessible, their significance wasn't immediately recognized. The Moderna Museum in Stockholm initially declined to accept them as a donation. It was only after art historian Ake Fant presented af Klint's work at a Helsinki conference that the art world began to acknowledge her pioneering contribution to abstract art. The Guggenheim Museum's 2019 exhibition marked her American debut and garnered significant acclaim, finally fulfilling af Klint's long-held dream of widespread recognition.
Lundgren's research arose from a seemingly simple observation: the striking resemblance between the geometric shapes in af Klint's paintings, particularly those from the 1914-1916 period, and the diagrams in Thomas Young's Lectures on Natural Philosophy and Mechanical Arts (1807). This sparked a four-year investigation, culminating in a paper published in the journal Leonardo. The project, undertaken during the COVID-19 lockdowns, involved a rigorous approach to validating her initial insight.
Lundgren, aware of the potential for criticism from the art community regarding an outsider's perspective, actively sought validation from art professors at her university. Their encouragement strengthened her resolve, leading her to immerse herself in the existing scholarship on af Klint. Finding no prior research connecting her work to Young's diagrams fueled her confidence.
However, initial submissions to art history journals were unsuccessful. Recognizing the need for support within the art historical field, she collaborated with Linda Dalrymple Henderson, a renowned scholar specializing in the influence of science on abstract art. Henderson’s expertise helped refine Lundgren's paper, resulting in its acceptance by Leonardo and positive reviews.
The connection between af Klint's art and Young's work isn't a direct causal relationship; they weren't contemporaries. Instead, Lundgren proposes that af Klint may have been indirectly influenced by the broader dissemination of scientific ideas prevalent during the late 19th and early 20th centuries. Young's work, focusing on the wave theory of light and optics, contributed to a shift in scientific understanding that permeated cultural discourse. The visual language of scientific illustration, emphasizing geometric forms and patterns to represent complex phenomena, might have subconsciously informed af Klint’s artistic vocabulary.
This interpretation aligns with broader scholarly discussions on the relationship between science and art. The burgeoning field of science studies acknowledges the interplay between scientific advancements and artistic expression. Scientific discoveries, experimental methodologies, and technological innovations often provide both inspiration and new tools for artists. This interdisciplinary approach moves beyond simple imitation and highlights a deeper osmosis of ideas and aesthetic strategies.
The implications of Lundgren's research extend beyond establishing a potential link between af Klint and Young. It illuminates the complex interplay between artistic inspiration and scientific thought. It challenges the often-rigid boundaries separating artistic creation from scientific inquiry, encouraging a more nuanced understanding of the creative process. Furthermore, it contributes to a broader appreciation of af Klint’s artistic vision, contextualizing her abstract work within the rich intellectual climate of her time. Her work becomes not merely an expression of spiritualism but also a reflection of the broader scientific and philosophical shifts of the early 20th century.
Further research could delve into the wider cultural context of scientific illustration in the late 19th and early 20th centuries. Exploring similar visual motifs in other artistic movements would enrich the analysis. This ongoing dialogue between art and science promises further insights into the creative process and the complex ways in which artistic innovation reflects and responds to the broader cultural and intellectual currents of its time.
