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Orpheus

Sand Dunes, Carson Desert, Nevada

Estérel Village

The Milkmaid

Water Lilies

Evening, Melancholy I

Presentation Drawing of "The Statue of Liberty Illuminating the World"

Study for the Nude Youth over the Prophet Daniel (recto); Figure Studies for the Sistine Ceiling (verso)

Water Lilies (Agapanthus)

The Dream of the Shepherd (Der Traum des Hirten)

Youth Playing a Pipe for a Satyr

Hilma Af Klint Series SUW, No 14 Swan, 1914 -1915

The Merry Family

Improvisation No. 30 (Cannons)

Tama River in Musashi Province (Bushu Tamagawa), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"

The Threatened Swan

Wrestlers in a Circus

Hilma af Klint — The Ten Largest — Number 8 Adulthood

Gedicht op de zilveren bruiloft van Ludolph Simon de With en Maria de Wit, 15 augustus 1771

The Girl by the Window

Gezicht op bolwerk Westerbeer

Interieur van een timmermanswerkplaats

After the Hurricane, Bahamas

Invocation to Love

Against a deep, hilly landscape, a young woman sits facing us on a rocky ledge with a small child in her lap in this square painting. The woman and child, Mary and Jesus, both have pale skin and blond hair. Mary wears a cobalt-blue gown over a coral-pink undergarment that peeks out from under the bottom hem and at her cuffs. A paler blue mantle is draped over the back of her head and falls to cover her shoulders and body. A sheer white veil covers her hair and forehead. Jesus wears a sheer white, loose, long-sleeved tunic. Both gaze downward to the bunch of green grapes Mary holds delicately in her left hand, to our right. Jesus reaches forward with both hands to pluck some fruit as Mary supports his body with her other hand. An oval shaped, woven basket with a lid sits on the ground next to Mary’s feet. The gray, rocky outcropping on which they sit is blanketed with straw-colored moss or other growth. A small clearing behind the pair is framed by trees on either side. The trees have tall, slender trunks speckled with light gray patches and canopies of olive and celery-green leaves. To our left and beyond the outcropping, a gray donkey stands behind a tree, nibbling on some grasses at the edge of the outcropping. To our right, in the middle distance, a pale-skinned, bearded man stands and arches back with a long stick raised overhead, as if about to strike the tree in front of him. Beyond him and about two-thirds of the way up the panel, a row of dark green shrubbery separates the clearing from rolling blue hills in the distance.

Ejiri in Suruga Province (Sunshu Ejiri), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"

The Large Plane Trees (Road Menders at Saint-Rémy)

Gezicht op bolwerk Westerbeer

Mount Fuji with Cherry Trees in Bloom

Unidentified Woman

"Dancing Dervishes", Folio from a Divan of Hafiz

[Entrance to the Port of Boulogne]

John F. Gray

A man stands and a woman sits near a herd of seven cows under a light-drenched sky in this horizontal landscape painting. The herd gathers on a grassy rise just beyond some large boulders and twiggy branches. The cows are caramel or copper brown and ivory white. They stand and lie, legs tucked demurely beneath their hulking bodies, facing different directions, their short horns curling like parentheses against the sky. The man stands on our side of the herd with his back to us to the left of center. He holds a tall shepherd’s staff in one hand as he hunches slightly and points with the other, to our right. He wears a high-crowned, wide-brimmed black hat, a crimson-red jacket, black trousers, and black knee-high boots. A knapsack hangs across one shoulder and rests behind his left hip. The woman sits on the far side of the herd so we see her under the man’s raised arm. She looks at him, her face peachy and round under a wide-brimmed straw-colored hat. She wears a white shirt under a robin’s egg-blue dress, and also holds a tall staff upright with both hands. Two more pale-skinned people sit on the ground or on a donkey in the near distance to our right, near the right edge of the canvas. Both wear hats and earth-toned clothing in black, gray, and blue. The donkey stands facing us, its face low, and a pair of baskets are slung across its back. The people and cattle cast long shadows from the setting sun, out of view to our left. The sunset ignites the undersides of the towering, slate-gray clouds with peach and gold against the ice-blue sky. A body of water stretches from beyond the low hill to a distant shore, where stone ruins are outlined on the horizon, which comes about a third of the way up the composition. A flock of six birds and another pair dot the sky.

Close to us, a bearded, balding man leads a donkey carrying a woman and child to our right against a hilly landscape in this horizontal painting. All three people have pale, peachy skin and halos. The man has a gray beard and hair, and wears a royal-blue tunic under a ruby-red robe. He leans on a walking stick and looks back at the donkey. The woman riding the donkey wears a blue and gold brocade-like cloak covering her head and body. She has a straight nose, small pink lips, and she looks toward the infant she holds close to her body. The baby wears a white garment and reaches for the woman’s face with one hand as he turns to look over his shoulder toward us. The path they walk on is lined with grass and detailed plants. A river runs parallel to the path a short distance away. The horizon line comes about two-thirds of the way up the painting is lined with green trees, blue mountains, and a few buildings to our left. Wispy white clouds sweep across an azure-blue sky streaked with peach near the horizon.

The Basket of Apples

Enclosed Valley

The Windmill at Wijk bij Duurstede

Fishing Boats at Choshi in Shimosa (Soshu Choshi) from the series "One Thousand Pictures of the Ocean (Chie no umi)"

The Rabbit Hunt

A Stallion

The Devil Speaks (Mahna No Varua Ino) (recto); Women Washing Clothes (verso)

In the Omnibus

Two Rabbits, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

The great Jewish bride

Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series "Thirty-Six Views of Mount Fuji (Fugaku sanjurokkei)"

Saint Sebastian

Japan; Illustrated book; Illustrated Books

Gezicht op bolwerk Oosterbeer met molen de Gooyer

Blooming Plum Tree, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Covered box decorated with chrysanthemums and waterfowl among lotus

Fragment van een muurschildering

Hilma Af Klint - The Swan, No. 12, Group IX/SUW, 1915

Margaret of Austria

Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series "Thirty-Six Views of Mount Fuji (Fugaku sanjūrokkei)"

Pichhwai for the Festival of Cows

Farmhouse on the Slope of a Hill

The great Jewish bride

Hunting and fishing scenes

Fishing Boats with Hucksters Bargaining for Fish

Graven en gravinnen van Holland

Edward L. Davenport

Woman Reading a Letter

Une odalisque, dite La grande odalisque

La Dentellière

Woman at Her Toilette

Grafmonument met alliantiewapen en vier kwartierwapens

Iris and Grasshopper, from an untitled series of large flowers

Fujimigahara in Owari Province (Bishu Fujimigahara), from the series "Thirty-six views of Mount Fuji (Fugaku sanjurokkei)"

Cabinet Decorated with Episodes from the Parable of the Prodigal Son

Hanger met cachet met de Dood

Kajikazawa in Kai Province (Koshu Kajikazawa), from the series "Thirty-six Views of Mount Fuji (Fugaku sanjurokkei)"

Dagger-axe

Arm of Eve

Copy of The Night Watch

About three dozen people gather in a grassy field to either side of a crumbling structure to kneel and pray before a woman and baby in the center of this horizontal painting. The woman, Mary, and baby, Jesus, have smooth, pale skin while the others have light or tanned skin. The structure has sand-colored stone pillars, a wooden triangular, pitched roof, and a straw floor. Mary, who has an elongated torso, sits facing us with her knees apart. She wears an azure-blue robe over a rose-pink dress. A shell-pink veil covers her head and body. Jesus sits on her left knee, his pudgy body angled to our left. He is nude except for a transparent cloth wrapped over one shoulder and the opposite hip. Mary’s left hand braces his torso. On Mary’s right, our left, Joseph, an older man, stands facing us. He clasps his hands at his chest and leans on a long stick. He has wrinkled skin, long, gray curly hair, and a full beard. Both Mary and Joseph tilt their heads to their right, our left, as they look down at Jesus. Joseph wears a golden yellow robe over a blue tunic. Joseph, Mary, and Jesus have faint gold halos. Behind them, a brown cow and gray donkey rest on the straw. People closest to Mary and Jesus kneel and bow their heads while the people to the left and right sides mostly stand. Three men kneeling closest to Mary and Jesus offer gifts, including a bronze vessel and a gold jar. One man has long dark brown hair and a beard, and wears a gold crown. Another man is bald with long gray hair and beard, while the third is cleanshaven with shoulder-length brown hair. These men wear robes in powder blue, carnation pink, or celery green with delicate silver and gold embelishments. Others in the crowd range in age from young and cleanshaven to older and bearded. They wear robes and tunics in shades of raspberry pink, butterscotch yellow, lapis blue, plum purple, or forest green. Several horses, their coats white or cinnamon brown, stand among the crowd, a few with riders. To our right, one horse rears its head and two others stand facing each other. Beyond the crowd, grassy green meadows and hills dotted with trees lead back to the horizon. A pale blue sky fills the top third of the composition.

Ornament voor de houten steel van een ge

Hilma af Klint - Group IX/UW, No. 25, The Dove, No. 1, 1915

Fox, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

After the Bath

Hilma af Klint — The Ten Largest — Number 1 Childhood

Donderbus buitgemaakt op Lombok in 1894

View of Houses in Delft, Known as ‘The Little Street’

The Submersion of Pharaoh's Army in the Red Sea

Palampore

Beroemde blikken op de Oostelijke hoofdstad

Mount Sainte-Victoire

"The Swan, No. 18" by Hilma Af Klint [Venice - 13 October 2013]

Thomas Stone

Hilma af Klint - Group IX/SUW, The Swan, No. 9, 1915

Cottage among Trees

Panel with the god Zeus/Serapis/Ohrmazd and worshiper

The Battle of Waterloo

A rutted, dirt road curves from the bottom center of the canvas toward and behind a grove of tall trees to our left, beneath a pale blue sky with fluffy white clouds that fills the top two-thirds of this horizontal landscape painting. The broad, green canopies of the trees to our left create deep shade over twisting trunks, shrubs, and grasses. A narrow stream meandering alongside the road to our left reflects the moss, pine, and sage greens of the leaves. The land rises in a sloping bank to our right, and leads back to open fields with hedgerows that stretch to the horizon. Shorter, more spindly trees cluster along the bank in the distance. Tiny in scale, people are sprinkled throughout the landscape, either singly or in small groups. In the shade of the grove to our left, a man with dark pantaloons, a brown hat and coat, and a walking stick strolls along the road with a woman wearing a red skirt, a dark shirt, and a white apron and cap. Just off the curve of the road to our right, another man with a walking stick, tan hat, and dark gray pantaloons talks to a woman also wearing red, black, and white. Another person, slightly smaller in stature, stands between them. At a pond farther back from this trio, a man with a broad-brimmed hat sits fishing at the edge of the water. Barely visible, a house with a pitched roof, a tall, brick-red chimney, and a white picket fence peeks out from behind the trees beyond the pond. Finally, a man wearing a rust-orange coat, gray pantaloons with white stockings, and a tall hat, carrying a pole propped on his shoulder, walks toward us on a footpath running alongside the fields. Tall, cream-white clouds dot the pale blue sky above, and tiny dots of dark paint suggest flying birds. Soft sunlight pours across the countryside. The artist signed and dated the painting in small script in the lower right corner: “meijndert Hobbema F 1663.”

Hilma af Klint "Svanen, nr 17, grupp IX/SUW, serie SUW/UW", 1915. Stiftelsen Hilma af Klints Verk. Photo: Moderna Museet/Albin Dahlström.

Hilma af Klint — The Ten Largest — Number 6 Adulthood