Altarpiece, No. 1 (1907 CE)

Altarbilder Nr.1 or Altarpiece, No. 1 by Hilma af Klint, created in 1907, is a striking and profound artwork that invites viewers into a contemplative space where the physical and spiritual worlds intertwine. A part of the artist’s larger series The Paintings for the Temple, this piece exemplifies af Klint’s exploration of spiritual evolution and the metaphysical concepts that dominated her artistic endeavors.

Created in 1907, Altarpiece, No. 1 is one of the central works in Hilma af Klint’s ambitious project, The Paintings for the Temple, which she developed between 1906 and 1915. This series, comprising 193 paintings across various groups and series, was intended to communicate the unity of all existence beyond the visible, dualistic world. The title’s reference to “the temple” does not necessarily pertain to a physical building but serves as a metaphor for spiritual development. Af Klint later sketched a vision for an actual temple structure in a notebook dated 1930–31, conceived as a three-level, nearly round building connected by a spiral staircase, culminating in an altar room where the Altarpieces would be displayed.

The Altarpieces, including No. 1, are considered the culmination of af Klint’s metaphysical project. The three large canvases were intended to be viewed together in the sanctuary, or innermost part of the envisioned temple, representing a convergence of forms, colors, and motifs. These works were meant to be encountered by visitors after passing through the other paintings in the series, eventually arriving at a central or elevated point in the imagined temple structure. The use of metallic leaf in these works further emphasizes their importance within af Klint’s spiritual program.

Altarpiece, No. 1 holds a significant place within both cultural and artistic contexts, particularly within the framework of early abstract art. The painting aligns with Theosophical ideas, specifically its version of evolutionary theory, where evolution occurs in two directions: ascending from the material world to the spiritual realm and descending from the divine to the material. The triangle in the painting pointing towards the golden circle symbolizes this dual evolution, capturing the essence of spiritual ascension and return to unity. Af Klint’s work, created in a time dominated by male artists, presents an innovative, female perspective on abstraction, one that integrates metaphysics, mysticism, and spiritualism.

Altarpiece, No. 1 is crafted using oil and metal leaf on canvas, measuring 93 1/2 × 70 7/10 inches (237.5 × 179.5 cm). The use of metallic leaf is particularly noteworthy as it adds a luminous quality to the piece, symbolizing its spiritual significance and its role as a centerpiece in af Klint’s envisioned temple. Currently, Altarpiece, No. 1 is housed at The Hilma af Klint Foundation in Stockholm.