Laura Gascoigne

Hitching them together does neither any favours: Hilma af Klint & Piet Mondrian, at Tate Modern, reviewed

There's an inevitability to Mondrian's paintings that Af Klint lacks

With their giant biomorphic forms in dolly-mixture colours, they close the exhibition with a party-popper bang: ‘The Ten Largest, Group IV, No. 3, Youth’, 1907,by Hilma af Klint [Courtesy of The Hilma Af Klint Foundation]

In July 1928, an unknown Swedish woman artist mounted a solo show of her revolutionary abstract paintings at the World Conference on Spiritual Science in London. It was a moment the 65-year-old Hilma af Klint had waited a long time for, but her confident prediction 20 years earlier that ‘the experiments I have undertaken will astound humanity’ was not fulfilled.

Already a subscriber? Log in

Keep reading with a free trial

Subscribe and get your first month of online and app access for free. After that it’s just £1 a week.

There’s no commitment, you can cancel any time.


Unlock more articles



Don't miss out

Join the conversation with other Spectator readers. Subscribe to leave a comment.

Already a subscriber? Log in