Tree of Knowledge No. 5 (1915 CE)

Kunskapens träd, nr.5 or “Tree of Knowledge No. 5” by Hilma af Klint is a captivating watercolor and pencil artwork measuring approximately 53 x 37 cm or 20 x 14 inches. As part of a series exploring the theme of duality and spirituality, the painting engages viewers with its vibrant colors and geometric forms. It serves as a bridge between the physical and spiritual worlds, reflecting af Klint’s deep interest in theosophy, spiritualism, and Christian mysticism.

“Tree of Knowledge No. 5” is part of Hilma af Klint’s series of the same name, created between 1913 and 1915. This series is a subset of her broader collection, “Paintings for the Temple,” produced from 1906 to 1915. In these works, af Klint delves into themes such as duality and spirituality, using geometric shapes and symbols to represent both the physical and spiritual realms, often in contrast to one another. The series reflects af Klint’s fascination with the esoteric and her desire to visually express complex metaphysical ideas.

Hilma af Klint did not display her artworks publicly during her lifetime, believing that the world was not yet ready to comprehend their spiritual significance. She instructed that her paintings should not be shown until at least 20 years after her death. Her work remained relatively unknown for decades but has since gained international recognition. Af Klint was also a member of a spiritual group called “The Five,” where she participated in séance-like activities and created automatic drawings, believing she was guided by spiritual forces.

“Tree of Knowledge No. 5,” like many of Hilma af Klint’s works, is steeped in spiritual and esoteric content. It is considered a significant contribution to early abstract art, representing a blend of symbolism and abstraction. The artwork’s focus on duality—a common theme in spiritual and religious thought—illustrates af Klint’s exploration of the relationship between the material and spiritual worlds, male and female principles, and light and darkness. The painting’s use of colors and geometric shapes suggests a metaphysical map or a coded message, visualizing complex spiritual concepts. Af Klint’s innovative approach has positioned her as one of the pioneers of abstract art, preceding many of her contemporaries.

The painting is executed in watercolor and pencil on paper. Af Klint’s use of geometric forms, organic lines, and bold colors such as yellow, blue, red, and green is characteristic of her style. The central stylized tree is vertically split into two halves, representing duality and the interconnectedness of opposing forces. The symmetry and balance in the composition, along with the use of circles and other geometric shapes, contribute to a sense of harmony and complexity. The painting’s technique reflects a controlled and deliberate approach, indicating careful planning and execution.

The painting is currently owned by the Hilma af Klint Foundation in Stockholm, Sweden. Over the years, it has been exhibited in major art institutions, including the Moderna Museet in Stockholm, the Solomon R. Guggenheim Museum in New York, and the Tate Modern in London. The painting has become an iconic representation of Hilma af Klint’s oeuvre and has played a crucial role in solidifying her status as one of the first abstract artists.