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

Hilma af Klint - Altarpiece No. 1 Group X

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

Hilma af Klint — The Ten Largest — Number 4 Youth

Hilma af Klint — The Ten Largest — Number 2 Childhood

Hilma af Klint — The Ten Largest — Number 3 Youth

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

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

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

Hilma af Klint — The Ten Largest — Number 9 Old Age

Hilma af Klint — The Ten Largest — Number 8 Adulthood

Hilma af Klint — The Ten Largest — Number 1 Childhood

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

Hilma af Klint — The Ten Largest — Number 5 Adulthood

Hilma af Klint — The Ten Largest — Number 10 Old Age

Hilma af Klint — The Ten Largest — Number 5 Adulthood

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

Tree of Knowledge, No. 1

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.

Tree of Knowledge, No. 2

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

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

Improvisation No. 30 (Cannons)

The Dream of the Shepherd (Der Traum des Hirten)

Hilma af Klint, Buddha’s Standpoint in the Earthly Life, No. 3a, (1920), courtesy Hamburger Bahnhof

Svanen, nr 22, serie SUW/UW, målad av svenske konstnären Hilma af Klint (1862-1944) åren 1914-194 i oljefärg på duk. Stiftelsen av Hilma af Klints verk.

The Girl by the Window

Terracotta kernos (vase for multiple offerings)

Goddess Riding a Dragon, from The Picture Book of Realistic Paintings of Hokusai (Hokusai shashin gafu)

Saint John on Patmos

A woman with pale white skin and her blond hair covered by a wide veil is shown from the waist up in this vertical portrait painting. Her folded hands rest on the lower edge of the panel, suggesting that she sits just on the other side, close to us. The transparent white veil covers her blond hair and falls in stiff, wide panes down in front of her shoulders. Her hair is pulled back behind a black ribbon over a high forehead. Her light brown eyes are downcast and she has a straight nose and full, pale pink lips. Her chest is covered by another veil and is tucked into the deep V-neck of her long-sleeved, black dress. A wide scarlet-red belt adorned with an ornately filigreed gold belt buckle encircles her narrow waist. Her skin, white veils, and red belt contrast sharply with her velvety black dress and the dark pine green of the background.

Mask (mbap mteng): Elephant (aka)

St. Catherine of Siena and the Beggar

Palampore

A winged angel with arms crossed kneels across from a young woman sitting and holding a book, both under an archway in a paneled room in this vertical painting. They both have pale, yellow-toned skin, blond hair, and flat, gold halos. They also have golden brown eyes, long, straight noses, smooth cheeks, and their pale, pink lips are closed. To our right, the woman sits in a throne-like chair with her body facing our left. Her head tilts down, and she looks toward the angel under lowered lids. Her hair is pulled back under the neck of the lapis-blue cloak she wears over a crimson-red dress. The dress and cloak are trimmed with gold, and a there is a gold starburst on the cloak over her left shoulder, closer to us. She holds her other hand up near that shoulder with her fingertips brushing her chest. With her other hand, she holds open the pages of a small book in her lap, so her fingers overlap some of the words. The entire Latin inscription would read, “virgo concipiet et pariet filium et vocabitur nomen eius emmanuel butirum et mel come dit ut fiat reprobare.” A slender, bone-white column separates her from the angel across from her, along the left edge of the painting. The angel has curly, shoulder-length hair and wears a robe with a gold, floral pattern against a burgundy-red background. Long, golden wings emerge from the shoulder blades and extend off the side of the composition. An open archway just beyond the angel is filled with streaks of flax yellow and burnt orange, possibly representing flames. Some of the walls in the room around the pair are pale olive green and other areas are darker spruce green. There are bands of coral-pink molding and inset panels of patterned mosaics. The flat ceiling of the space immediately over the pair is decorated with checkerboard panels in navy blue, hunter green, brown, and brick red. Gold lines create a ray coming from the ceiling toward the woman. At the back of the space, beyond the column separating the woman and angel, the room extends into an alcove with an arched hallway painted with gold stars against a midnight-blue background. Double doors open at the back of the alcove onto a room with a pale-yellow curtain with a mesh-like trim. We see the pair as if through a stone archway that lines the top and sides of the composition. The upper corners are filled with leafy decorations, as if carved into the stone.

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.

Paardenschender of gleve

Cranes on snow-covered pine

No 1. From "The Parsifal Series", painted 1916. From an exhibition at Moderna Museet, Stockholm.

Quilt

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.

Mount Fuji with Cherry Trees in Bloom

Water Lilies

Grafmonument met alliantiewapen en vier kwartierwapens

A woman and two children, all with pale skin and flushed cheeks, sit together in a landscape in this round painting. The woman takes up most of the composition as she sits with her right leg, to our left, tucked under her body. Her other leg, on our right, is bent so the foot rests on the ground, and that knee angles up and out to the side. She wears a rose-pink dress under a topaz-blue robe, and a finger between the pages of a closed book holds her place. Her brown hair is twisted away from her face. She has delicate features and her pink lips are closed. She looks and leans to our left around a nude young boy who half-sits and half-stands against her bent leg. The boy has blond hair and pudgy, toddler-like cheeks and body. The boy reaches his right hand, on our left, to grasp the tall, thin cross held by the second young boy, who sits on the ground next to the pair. This second boy has darker brown hair and wears a garment resembling animal fur. The boy kneels facing the woman and looks up at her and the blond boy. The trio sits on a flat, grassy area in front of a body of water painted light turquoise. Mountains in the deep distance are pale azure blue beneath a nearly clear blue sky.

Courting flute (siyotanka)

Cloth with Procession of Figures

Feast Ladle

A woman and winged angel, both with pale, peach skin, are situated in a church interior in this tall, narrow painting. To our left, the angel has long, blond, curly hair, smooth skin, and is smiling. The wings are outlined in royal blue, and they blend from blue to green to yellow to crimson. The angel holds one hand, closer to us, up at chest height with the index finger subtly pointing upward. Holding a long scepter in the other hand, the angel angles their body toward the woman to our right. The angel wears a gold jewel and pearl-encrusted crown and a jeweled long, voluminous robe in scarlet-red and shimmering gold brocade. The neck and along the opening down the front are lined with pearls and jewels. The angel looks toward the woman, who wears a royal-blue dress tied with a red belt at the high waist. Her long brown hair is tied back but one tendril falls over her left shoulder, to our right. She kneels facing us with her raised hands facing outward. Her head is tipped a bit to our left, and she looks up and into the distance to our right with lips slightly parted. She kneels behind a book lying open on a low table. A vase of white lilies and a red cushion lies on the floor in front of the table, close to us. The floor is decorated with people and scenes outlined in black and set into square panels, as if inlaid with wood. The church behind and above the people has a row of tall, narrow arches with bull’s-eye glass windows. A walkway lined with columns runs above the arches, and sunlight comes in through arched windows under the flat wood ceiling. A white dove flies toward the woman on gold lines from a window at the upper left of the painting. Latin words painted in gold capital letters are exchanged between the people. The angel says, “AVE GRA PLENA.” The letters of the woman’s response are painted upside down and backward: “ECCE ANCILLA DNI.”

Pendant in the form of a cock

Une odalisque, dite La grande odalisque

The Child's Bath

Collier met hanger

Textile Fragment

A woman wearing a cobalt-blue robe and a white veil sits with her hands raised, palms out, as she looks toward a slender, bearded man who stands to our left in this vertical painting. Both have light skin and delicate features, and they sit in a room with stone walls and arched windows. There are faint circles under the woman’s light brown eyes. She has a long slender nose, and her pink lips are pursed. One knee is bent, and she is low to the ground, suggesting she sits on a stool. A book lies open on a wooden stand in front of her to our right, below her left elbow. The ruffled edges of her multi-layered, white veil sweep over her forehead and down to her shoulders. Her loose, long-sleeved blue garment is edged with gold and falls in angular folds to pool at her feet. She holds her long-fingered, slender hands up at her chest, palms facing the man to our left. He stands with his body angled toward her as he looks down, his head tipped slightly forward. His brown hair falls over his shoulders. His voluminous, gold-edged, red cloak is fastened at his throat with a gold, jeweled brooch, and it drapes over his shoulders and around his lower torso, leaving his arms, chest, and a gash over his right ribs exposed. He holds a tall, gold staff topped with a jeweled cross in his left hand, to our right. A moss-green pennant flutters back from the base of the cross, as if lifted in a breeze. The man holds up his other hand so the palm faces the woman with the first two fingers raised. Round, puncture wounds with red blood mark the palm of that hand and tops of both bare feet. The floor is patterned with gray, brown, blue, and green tiles. The wall behind the woman has honey-brown paneling along the bottom half and the top half is slate gray. Gray columns are spaced along that wall, supporting a curving, vaulted ceiling. Two arched windows pierce the wall behind the woman, and both have stained glass designs within the curving tops. The window closer to us opens onto a narrow view of a landscape with a rose-pink arch over a bridge, and a path winding through green fields. An open door over the shoulder of the man, to our left, shows the stepped roofline of a pink building under a blue sky. The entire scene is framed with a flattened arch supported by gleaming columns of polished, veined brown stone, creating the impression that we look onto the people and room through the arch. The columns have leafy capitals and white bases. The tan-colored arch is carved with a row of stylized rosettes along the opening that spans the top of the painting.

Misty Sea

Portraits of Surinamese Girls

Accordion

Grand Piano

Imperial Red Cross Easter Egg

Shown from the waist up, a woman with pale skin and brown hair, wearing a dark corset and white fabric over her shoulders, looks down at needlework in her hands in this vertical painting. Her cheeks are rosy and her dark hair is pulled back, though it seems looser down the sides of her face. A small, coral-red, crescent shape at the back of her head could be covering her hair or holding it in place. White, nearly translucent fabric lies loosely across her shoulders over a dark, moss-brown, long-sleeved dress. Her breasts swell over the squared, lace-trimmed neckline. She holds white fabric and perhaps a needle in her hands, which rest on a tan cushion on her lap. The scene is loosely painted throughout so some of the details are difficult to make out. A darker spot along her right index finger could be a thimble. The background is the same olive-tan of the cushion.

Portraits of Surinamese Girls

A Monumental Portrait of a Monkey

The Threatened Swan

The Milkmaid

Stela of Amenemhat and Hemet

Corset

Mount Sainte-Victoire

Terracotta dinos (mixing bowl)

The Windmill at Wijk bij Duurstede

Waistcoat

Tánggǔ (堂鼓)

A man hangs from a wooden cross at the top center of this vertical painting, with a woman standing at the foot of the cross to our left and a man to our right, all in front of a deep landscape with mountains along a river. All the people have light skin. The feet of the man on the cross, Jesus, line up with the tops of the heads of the people standing below. Jesus hangs by a nail driven through each palm, and his overlapping feet are nailed into a short platform that angles downward. He has shoulder-length brown hair and a short brown beard. His head tips forward, and his eyes are downcast or closed. He has a straight nose, high cheekbones, and his lips are closed. Blood trickles down his forehead from a ring of thorns around his head, from the nails in his hands and feet, and from a short gash over his right ribs, on our left. A white loincloth is wrapped around his hips, and the end of it flutters as if in a breeze to our left. The man’s body is lean but muscular. A slip of paper with the letters “INRI” has been affixed to a small panel on the cross above Jesus’s head. Below and to our left of the cross, a woman stands with her head bowed, looking down with her hands clasped in prayer. Her hair is covered with a tan-colored veil and she wears a gold-edged, navy-blue robe that covers her head and body. She and the cleanshaven, blond man standing to our right of the cross both have bare feet. The man looks up at the cross with his lips parted. His fingers are intertwined and then flipped, palms-down, with his arms straight. His raspberry pink-robe falls over one shoulder and around his hips, over a topaz-blue, ankle-length tunic. The dirt-packed ground on which they stand is lined along the bottom edge of the panel with plants and flowers. The golden-brown land dips beyond the people, leading down to a river that winds into the distance. A castle-like structure perches on cliff-like outcroppings high along the left edge of the painting, and buildings at the foot of that outcropping line the river. Two people walk and one person fishes off a bridge near the town. A few boats, one with full sails unfurled and another possibly with oars out to row, float in the river beyond, which is flanked in the deep distance by mountains painted blue in the haze. The horizon comes about halfway up the composition, crossing the painting just beneath Jesus’s feet. The sky above deepens from pale yellow along the horizon to robin’s egg blue where a few wispy clouds create streaks along the top edge.

A woman and child sit on an ornate gold, curving throne in front of a shimmering gold background in this vertical painting. Two winged angels in roundels at the upper corners and the woman and child all have peach-colored skin with a gray cast. The woman tips her head toward the child, to our right. She has almond-shaped eyes, a long, straight nose, and her small lips are closed. She looks into the distance over the child’s head. She wears a scarlet-red mantle that covers her head and drapes over her shoulders and body. The azure-blue of her dress beneath is visible at her throat and over one knee. The child sitting on her knee is as tall as a toddler but has adult proportions in his face and body. He holds up his right hand, on our left, and raises the first two fingers. He holds a red scroll in his other hand. He wears a forest-green robe over a salmon-pink garment. The clothing of both the woman and child have geometric gold lines indicating folds in the drapery, and both have gold halos. The child’s halo is marked with three red arms to create a cross above and to the sides of his head. The woman rests her feet on a low stool in front of the opening of the elaborately carved, two-tier throne that nearly encircles the pair. The winged angels in the upper corners have gold halos, brown hair, jeweled, gold garments, and each holds an orb and scepter.

The Burning of the Houses of Lords and Commons, 16 October 1834

Goblet

Mandala of the Three Shrines at Kumano

A young, pale-skinned woman with reddish-blond hair sits with a nearly nude, chubby toddler standing in her lap in this vertical painting. She looks down at him, her body and face angled to our left. Thin lines creating a gold halo fan out from the back of her head. An ivory-white scarf wraps around her head and trails down the back of her neck where it is tucked into a dark, teal-blue cloak covering her shoulders and draping across her lap. Under the robe, she wears a loose, cherry-red gown with vertical pleats over her chest. The baby, also with pale skin, reddish blond hair, and a delicate gold halo, looks up at her face with light brown eyes. He stands on the woman’s right thigh, to our left. One of the woman's hands wraps around his body and supports his legs, while she props up his chest with her other. A length of pale gray fabric wraps over one shoulder and around his stomach. The two are situated in front of a column and pillar supporting a horizontal lintel overhead. The view beyond is of a blue sky over a golden field with dark green conical cypress trees in the distance.

Twee fragmenten textiel

Bowl with Inscription, "Sovereignty is God's"

Bridal Robe (Hwarot)

Water Lilies (Agapanthus)

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

Woman at Her Toilette

Pink and Rose

This painting shows a woman sitting and cradling an infant on her lap. The woman faces slightly left and looks down at the child with a slight smile. She has pale skin and golden hair covered by a semi-translucent white veil. She wears a red garment with gold embroidery and a dark blue cloak with gold trim and a star-shaped brooch on her shoulder. The infant has curly golden hair and is dressed in a sheer garment, looking up towards the woman. Surrounding these two people are more people with wings and cherubic children with the bodies of red-and-gold birds. All of these people have pale skin and golden hair, and they wear colorful robes in shades of red, white, and light blue. Everyone in the painting has a golden halo around their head, and the background is a decorative golden surface with intricate patterns around the edge of the painting.

Le Couronnement de la Vierge

Bassoon

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

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

Mural Fragment Depicting a Maguey Bloodletting Ritual

Hinds House Window

Saint Sebastian

Coat

Ennanga