The Swan, No. 9 (1914-1915 CE)

Svanen, nr.9 or “The Swan, No. 9,” painted by Hilma af Klint between October 1914 and March 1915, is one of the 24 semi-abstract artworks in her “The Swan” series. This piece depicts the dynamic struggle between a white swan and a black swan, symbolizing the duality of existence and the pursuit of spiritual unity.

“The Swan, No. 9” is part of a series created by Hilma af Klint during a significant period of artistic and spiritual exploration from 1914 to 1915. Deeply influenced by Theosophy, a spiritual movement founded by Helena Blavatsky, af Klint’s work sought to express themes of duality, unity, and transcendence. The swan, a symbol found in many mythologies and religious traditions, represents the spiritual quest for wholeness and the reconciliation of opposites.

Hilma af Klint believed her paintings could communicate messages from other dimensions or act as “portals” to higher realms. In “The Swan, No. 9,” she portrays the duality of existence through two swans, one black and one white, symbolizing the eternal conflict and ultimate unity of opposites. This artwork, like others in the series, demonstrates af Klint’s attempt to visualize a synthesis between contrasting forces, such as light and dark, male and female, aiming for a higher state of balance.

“The Swan, No. 9” plays a vital role in the cultural and artistic landscape of its time by engaging with spiritual and esoteric themes. In Theosophy, the swan symbolizes the “grandeur of the spirit,” while in alchemy, it represents the union of opposites necessary for creating the philosopher’s stone, believed to transform base metals into gold. The painting thus serves as a profound exploration of spiritual transformation and metaphysical inquiry, reflecting af Klint’s quest to bridge the visible and invisible realms.

“The Swan, No. 9” measures 154 cm x 154 cm or 60.83 x 60.83 inches. It incorporates various symbolic elements, including geometric shapes, soft forms, and a vibrant red background. The artwork also features the “flower of life” pattern, a motif with ancient origins seen in Assyrian and Roman art, Gothic architecture, and European folk art. Af Klint uses color and form not just for aesthetic purposes but to delve into deeper spiritual and symbolic meanings.

“The Swan, No. 9,” like the rest of the series, remained largely unknown during Hilma af Klint’s lifetime. Today, the painting is part of the Hilma af Klint Foundation’s collection, which is dedicated to preserving and promoting her pioneering contributions to modern art.