In 2019, astronomer Britt Lundgren of the University of North Carolina Asheville visited the Guggenheim Museum in New York City to take in an exhibit of the works of Swedish painter Hilma af Klint . Lundgren noted a striking similarity between the abstract geometric shapes in af Klint's work and scientific diagrams in 19th century physicist Thomas Young 's Lectures (1807). So began a four-year journey starting at the intersection of science and art that has culminated in a forthcoming paper in the journal Leonardo, making the case for the connection.

Af Klint was formally trained at the Royal Academy of Fine Arts and initially focused on drawing, portraits, botanical drawings, and landscapes from her Stockholm studio after graduating with honors. This provided her with income, but her true life's work drew on af Klint's interest in spiritualism and mysticism. She was one of "The Five," a group of Swedish women artists who shared those interests. They regularly organized seances and were admirers of theosophical teachings of the time.

It was through her work with The Five that af Klint began experimenting with automatic drawing, driving her to invent her own geometric visual language to conceptualize the invisible forces she believed influenced our world. She painted her first abstract series in 1906 at age 44. Yet she rarely exhibited this work because she believed the art world at the time wasn't ready to appreciate it. Her will requested that the paintings stay hidden for at least 20 years after her death.

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In 2019, astronomer Britt Lundgren of the University of North Carolina Asheville visited the Guggenheim Museum in New York City to take in an exhibit of the works of Swedish painter Hilma af Klint . Lundgren noted a striking similarity between the abstract geometric shapes in af Klint's work and scientific diagrams in 19th century physicist Thomas Young 's Lectures (1807). So began a four-year journey starting at the intersection of science and art that has culminated in a forthcoming paper in the journal Leonardo, making the case for the connection.

Af Klint was formally trained at the Royal Academy of Fine Arts and initially focused on drawing, portraits, botanical drawings, and landscapes from her Stockholm studio after graduating with honors. This provided her with income, but her true life's work drew on af Klint's interest in spiritualism and mysticism. She was one of "The Five," a group of Swedish women artists who shared those interests. They regularly organized seances and were admirers of theosophical teachings of the time.

It was through her work with The Five that af Klint began experimenting with automatic drawing, driving her to invent her own geometric visual language to conceptualize the invisible forces she believed influenced our world. She painted her first abstract series in 1906 at age 44. Yet she rarely exhibited this work because she believed the art world at the time wasn't ready to appreciate it. Her will requested that the paintings stay hidden for at least 20 years after her death.

Read full article

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In 2019, astronomer Britt Lundgren of the University of North Carolina Asheville visited the Guggenheim Museum in New York City to take in an exhibit of the works of Swedish painter Hilma af Klint . Lundgren noted a striking similarity between the abstract geometric shapes in af Klint's work and scientific diagrams in 19th century physicist Thomas Young 's Lectures (1807). So began a four-year journey starting at the intersection of science and art that has culminated in a forthcoming paper in the journal Leonardo, making the case for the connection.

Af Klint was formally trained at the Royal Academy of Fine Arts and initially focused on drawing, portraits, botanical drawings, and landscapes from her Stockholm studio after graduating with honors. This provided her with income, but her true life's work drew on af Klint's interest in spiritualism and mysticism. She was one of "The Five," a group of Swedish women artists who shared those interests. They regularly organized seances and were admirers of theosophical teachings of the time.

It was through her work with The Five that af Klint began experimenting with automatic drawing, driving her to invent her own geometric visual language to conceptualize the invisible forces she believed influenced our world. She painted her first abstract series in 1906 at age 44. Yet she rarely exhibited this work because she believed the art world at the time wasn't ready to appreciate it. Her will requested that the paintings stay hidden for at least 20 years after her death.

Read full article

Comments