Wassily Kandinsky. Untitled Composition (Lyrique). 1922.
Paul Klee. Comedian (Invention 4), Fire in the Evening, Reflecting Window, Ad Parnassum, Bandit’s Head, Juggler in April, Comedian (Komiker), Contrasts in the Evening (Blue and Orange), 1904-1945.
Vasily Kandinsky. Green Accent. 1935.
Joan Miró. Intérieur Hollandais II (Dutch Interior II), 1928.
Hilma af Klint. Buddha’s Standpoint in the Earthly Life, No. 3A, Untitled, The Mahatmas Present Standing Point, No. 2A. 1920.
Joan Miró, Painting (Women, Moon, Birds), 1950.
Georgia O'Keeffe. Abstraction White Rose. 1927.
Alan Davie, Woman Bewitched by the Moon No. 1 & No. 2 [Opus 0.175]; Oil paintings on Masonite, 1956.
Yves Tanguy, Vers le nord lentement (Slowly toward the north), 1942.
Hilma af Klint. Altarpiece, No. 1, Group X, The Dove, No. 3, Group IX, The Swan, No. 17, Group IX (top to bottom). 1913-1915.
Hilma af Klint (1862-1944) was a pioneer of art that turned away from visible reality. By 1906, she had developed an abstract imagery. This was several years before Wassily Kandinsky (1866-1944), Piet Mondrian (1872-1944) and Kazimir Malevich (1878-1935), who are still regarded as the pioneers of abstract 20th-century art. Hilma af Klint assumed that there was a spiritual dimension to life and aimed at visualizing contexts beyond what the eye can see. When painting, she believed that she was in contact with a higher consciousness that spoke and conveyed messages through her. Like many of her contemporaries, she was influenced by spiritual movements, especially spiritualism, theosophy and later anthroposophy. Through her paintings, she sought to understand and communicate the various dimensions of human existence. -Dr. M. Bunyan
