The Ten Largest, No. 4, Youth (1907 CE)

This colorful artwork is a pioneering abstract painting by Swedish artist Hilma af Klint, created in 1907 as part of her visionary series depicting human life’s stages. This monumental work invites viewers into a world of spiritual symbolism and organic energy, predating recognized abstract art by years and offering a profound glimpse into the invisible forces shaping our existence.

Hilma af Klint (1862–1944) painted The Ten Largest, No. 4, Youth in 1907, during a pivotal phase of her career marked by deep spiritual exploration. The artwork originates from her larger series “The Ten Largest,” comprising ten oversized pieces divided into subgroups: Childhood (Nos. 1–2), Youth (Nos. 3–4), Adulthood (Nos. 5–8), and Old Age (Nos. 9–10). This series is embedded within “Paintings for the Temple,” a collection of 193 works produced between 1906 and 1915, inspired by af Klint’s visions of a spiritual structure she imagined building.

Her journey into abstraction began after the death of her sister, which ignited her interest in spiritualism. In 1896, she co-founded “The Five,” a group of women artists who conducted séances to connect with spirit guides called “High Masters.” By 1904, a spirit named Amaliel instructed her to paint on an astral plane, leading to the rapid creation of “The Ten Largest” in just four months following a September 1907 vision. Af Klint drew from Theosophy (founded by Helena Blavatsky), Rosicrucianism, and later Anthroposophy through Rudolf Steiner, whom she met in 1908. 

One compelling anecdote reveals af Klint’s trance-like process: she described the paintings as emerging “directly through me, without any preliminary drawings, and with great force,” guided by spiritual entities without altering a single brushstroke. This underscores her role as a medium rather than a traditional artist. Interestingly, the monumental scale forced her to work on her studio floor, mirroring the physical demands of her spiritual intensity. Another fascinating detail is her encounter with Rudolf Steiner, who, upon seeing her work, suggested the world wasn’t ready—prompting her posthumous secrecy clause. Comparisons to Jackson Pollock’s drip techniques highlight parallels in intuitive creation, while curators liken her cosmic vision to Leonardo da Vinci’s universal inquiries. Af Klint’s initial training at Stockholm’s Royal Academy of Fine Arts (1882–1887) in naturalistic styles contrasts sharply with her abstract turn, influenced by personal loss and occult studies.

The Ten Largest, No. 4, Youth holds immense significance as a trailblazer in abstract art, created years before other artists claimed similar innovations—challenging the male-dominated narrative of art history. Within its cultural context, it embodies early 20th-century modernism’s fusion of art, science, spirituality, and politics, reflecting interests in biology, evolution, and the occult. Af Klint’s work parallels scientific diagrams, portraying the universe’s invisible forces and human soul’s evolution.

Symbolically, the painting represents youth’s lively energy and growth, with motifs like spirals (symbolizing progress and personal development), shells, flowers, and segmented circles evoking organic and cosmic forms. Dualities—up/down, male/female (blue for female spirit, yellow for male), good/evil—draw from spiritual traditions, suggesting gateways to other dimensions. Intended for a spiral-shaped “Temple,” the series carried ritualistic meaning, visualizing esoteric concepts for spiritual enlightenment. Today, it inspires contemporary artists, with exhibitions like the Guggenheim’s 2018 show (its most visited ever) elevating af Klint’s status and addressing gender biases in art. Her biomorphic abstractions bridge earthly and esoteric realms, offering a pedagogical lens on humanity’s place in the cosmos.

Af Klint employed tempera (specifically egg tempera) on paper, later mounted on canvas, which produced the soft, matte finishes and luminous colors characteristic of the piece. The dimensions are 328 cm (129 inches) x 240 cm (94 inches), emphasizing its overwhelming scale and immersive quality. Her technique was remarkably intuitive: without sketches, she painted swiftly under spiritual guidance, preserving fresh lines and immediacy. This rapid, unaltered approach captured a sense of divine channeling, with no revisions to brushstrokes, resulting in vibrant, biomorphic forms on a dynamic orange background.

The painting’s provenance traces back to af Klint’s personal collection. It remained with her family and estate before being managed by the Hilma af Klint Foundation in Stockholm, Sweden, established to preserve and promote her work. The foundation owns and oversees it today, facilitating loans for major exhibitions.