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Hilma af Klint - Group IX/SUW, The Swan, No. 1, 1915

Grafmonument met alliantiewapen en vier kwartierwapens

Ram Mask (Bolo)

Improvisation No. 30 (Cannons)

Bowl with Inscription, "Sovereignty is God's"

Evening, Melancholy I

The Cathedral

Tree of Knowledge, No. 2

Hilma af Klint — The Ten Largest — Number 1 Childhood

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

Interieur van een timmermanswerkplaats

Trophy of the Hunt

The Girl by the Window

Copy of The Night Watch

Raft Cup

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

The great Jewish bride

Feast Ladle

Tomb with Sphinxes and an Owl

Enclosed Valley

Hilma af Klint - Group IX/SUW, The Swan, No. 7, 1915

Hilma af Klint — The Ten Largest — Number 6 Adulthood

Cranes on snow-covered pine

St. Catherine of Siena and the Beggar

Cabin in the Cotton

Tea Table

Hilma af Klint - Group X, No. 2, Altarpiece, 1915

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

This print illustrates the legend of a woman murdered by her husband because she accidentally broke plates. Her corpse and the pieces of the dishes were thrown into a well, but her ghost returned every night to haunt him in the eerie form seen here. This small-format work features a bright blue color that may seem cheery to us, but Hokusai’s original audience would have associated it with death and the occult.

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

Jar with Dragon and Clouds Design

The Night Watch Militia Company of District II under the Command of Captain Frans Banninck Cocq

Cabinet Decorated with Episodes from the Parable of the Prodigal Son

Graven en gravinnen van Holland

Charles and Lavinia Stratton

The Merry Family

Mount Sainte-Victoire

Hilma af Klint - The Swan, No. 10, Group IX/SUW, 1915

Tánggǔ (堂鼓)

Acteur in een Noh-theaterstuk, Tokyo

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)"

After the Hurricane, Bahamas

Ingelijste muurschildering voorstellende Xiwangmu en dienaressen

Cloth with Procession of Figures

Paris Street; Rainy Day

Hilma af Klint - Altarpiece No. 1 Group X

Fan painting with river landscape

Blackbook I

Unidentified Woman

In front of a crumbling stone building, an older man kneels in front of a second man, smaller in scale, hanging from a tall, wooden cross, with a city in the background in this vertical painting. Both men have pale skin. At the lower center of the composition, the kneeling man, Saint Jerome, pulls his navy-blue robe to one side to expose his muscular but slender bare chest with a bloody mark at its center. With his other hand, he holds a rounded, gray stone touched with pink, also suggesting blood, by his side. He has long, silvery-gray hair and a long, pointed beard. His pink lips are parted, and we see his teeth. He raises gray eyes to look up at the man on the slender cross, which rises along the left edge of the composition. The man on the cross brown hair, a plate-like gold halo, and a white loincloth is draped across his hips. The shell-pink ground is littered with rocks. A red hat with a shallow brim and a tasseled chin cord sits near Saint Jerome’s sandaled feet. A miniature lion lies between Saint Jerome and the arched opening of the crumbling, terracotta-red structure along the right edge of the painting. Ivy grows up one side of the arch, and an hourglass and book with a red cover and gold-edged pages sit on a white cloth under the opening. An owl perches on a branch of an oak tree growing from the front face of the structure, and a hawk sits on a branch of the fruit tree growing from the stone courtyard, between Saint Jerome and the crucifix. A shrub with dark green leaves and clusters of three olive-green fruits fills in most of the space beneath the canopy of the fruit tree. To our right and in the distance, a man with a pointed black hat, a black jacket, and white pants rides away from us on a gray horse. To our left, the courtyard gives way to an amphitheater-like space. There, next to a donkey, a man with a long white beard hands a bundle of wood or planks to another man whose brown hair is cut into a ring encircling his head. Both men wear rose-pink garments over navy-blue togas. A town with white and pale pink stone buildings rises up a hill into the distance. The sky above deepens from honeydew green along the horizon to pale then peacock blue along the top edge of the composition. A few ice-blue, white, and light gray clouds float across the sky.

Fragment van een muurschildering

Animal-Spouted Pitcher

Japan; Illustrated book; Illustrated Books

Spouted jar

The Connoisseur

Christ Crucified Between the Two Thieves: 'The Three Crosses'

Accordion

Unidentified Man

Unidentified Man

Covered Tureen on Stand (Pot-à-oille)

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

Acteurs tijdens een kabuki-voorstelling in Kabukiza, Tokyo

Titel: Svanen, nr 13, grupp IX, serie SUW. Konstnär: Hilma af Klint (1862-1944, svenska). Olja på duk utförd 1915. Stiftelsen Hilma af Klints verk.

Unidentified Man

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

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)"

John F. Gray

Cabinet

The great Jewish bride

Dragon in foliage with lion and phoenix heads

Repository for the Great Perfection of Wisdom Sutra and Eleven Volumes of the Great Perfection of Wisdom Sutra

[The Oriel Window, South Gallery, Lacock Abbey]

Johannes Vermeer. Gezicht op Delft / Vue de Delft / View of Delft / Ansicht von Delft

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

Hydrangea and Swallow, from an untitled series of large flowers

Dozens of people form a line starting from an opening in a city wall or building in the background to a rustic shed-like structure close to us, to kneel before a seated woman holding a baby on her lap in this vertical painting. All of the people have pale skin tinged faintly with green. The top edge of the panel is shaped so it has two rounded sections like shoulders leading to a stepped, crown-like form with an inward curving triangle at the top. A nickel-gray, crenelated stone wall of a distant city is nestled into the top, stepped section, with a glimmering gold sky above filling the uppermost triangle. Tile-roofed and domed buildings and a few towers appear densely packed beyond the wall. People on foot and horseback create a line from an arched opening in the wall toward us and to our right. Three of the people on horseback in the distance wear long robes and have gold halos. The line of people winds behind a tall, narrow hill to our right and it continues close to us. Two horses, two camels, and several people wait to the right but our attention is drawn to the trio in the foreground, Mary, Jesus, and Joseph, and the three men near the infant, the Magi. Mary wears a lapis-blue mantle covering her head and shoulders over a petal-pink dress, and she sits on a wooden or stone chest in the center of the painting. Her body faces us but she turns her face to look with pale blue eyes off to our right. In one hand she holds a hexagonal gold vessel that tapers to a flame-like finial. With the other hand, on our left, she supports the blond infant sitting in her lap. He is covered only with a white cloth around his waist, and he looks toward the vessel as he holds up the index and middle fingers of his right hand. To our left and slightly behind Mary, a balding man with white hair and beard and wearing a blue garment under a red robe sits with his head propped in his hand, looking down. His other hand rests on what might be the handle of a crutch or staff. The man, woman, and child have gold halos with what appears to be writing. The three Magi also have gold halos and they all wear scarlet-red shoes. The oldest kneels before Mary and kisses Jesus's feet. He has a long, light gray beard and is balding. He wears a brocade-like gold robe over pale brick-red sleeves. A cleanshaven man with dark brown hair and wrinkles around his mouth kneels to our left as he raises a jewel-encrusted gold crown from his head. He wears a gold and red floral-patterned garment and holds a rounded vessel, also with a flame-like finial. A younger, cleanshaven man with smooth features and shoulder-length, curling blond hair to our right also wears a gold crown. A dagger hangs from the waist of his sky-blue tunic, and his leggings are pale plum purple. Both arms are bent to his hands are held up, and in his right hand, he holds another tabernacle-like gold vessel. The structure to our left houses a donkey and bull munching hay. A gold sunburst floats above the roof, which seems to be built up against the stone wall of a building. The hills and trees beyond the people is painted with pine and moss greens and brown.

Bell (Lai Zhong)

Ewer

Coat

Tomb Guardian with Animal Head

Unidentified Woman

Iris and Grasshopper, from an untitled series of large flowers

Seated Female Nude (Self-Portrait?)

Mask (mbap mteng): Elephant (aka)

Red-Figure Calyx-Krater (Mixing Vessel): Medea in Chariot (A); Telephos with Baby Orestes (B)

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

Frogs and Lily Pads (Grenouilles et Nénuphars) Vase

Helmet with divine figures beneath a bird with outstretched wings

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

Hilma af Klint — The Ten Largest — Number 5 Adulthood

Oribe-Type Ewer

The Adoration of the Magi

Stag at Sharkey's

Goblet

Hilma af Klint — The Ten Largest — Number 8 Adulthood

Jar with Lion-Head Handles

Hilma af Klint — The Ten Largest — Number 4 Youth

Textile Fragment

Guitar

Man met peuter op de rug, Osaka