From May 6 to August 30, 2026, the Grand Palais in Paris will host a major exhibition dedicated to Hilma af Klint (Solna, 1862 - Danderyd, 1944), an artist who profoundly changed the chronology of modern art. The exhibition, entitled Hilma af Klint. Les peintures du Temple (1906-1915), curated by Pascal Rousseau and realized in collaboration with the Centre Pompidou, offers a never-before-seen project.
In fact, forthe first time in France, the cycle of Paintings for the Temple (1906-1915), considered the core of his artistic production, is presented in its entirety. Within this corpus stands out the celebrated monumental series of the Ten Largest, which testifies to the visionary scope and modernity of his path.
Trained at the Royal Academy of Fine Arts in Stockholm, the artist conducted a dual activity: traditional figurative production on the one hand, and more experimental and reserved research on the other. The latter was deeply influenced by her interest in the Theosophical Society and the spiritist practices she shared with a group of women with whom she developed spiritual and utopian reflections.
In her works, elements such as spirals, circles and rays become symbols of a tension toward universal harmony and the invisible forces that govern the cosmos, giving the paintings a timeless and universal dimension.
Hilma af Klint deliberately chose not to show her abstract works during her lifetime, stipulating in her will that they be made public only 20 years after her death. This decision contributed to delaying her recognition: indeed, it was not until 1986, with the exhibition The Spiritual in Art: Abstract Painting 1890-1985 in Los Angeles, that her work was presented to a wide audience for the first time, marking the beginning of her international rediscovery.
Despite the growing attention in recent years, especially in the context of the reassessment of the role of women artists in modernity, France has not yet dedicated a major monographic exhibition to Hilma af Klint. This exhibition therefore represents a significant moment to fill that gap and to restore the artist to the central role she is now recognized globally. In addition to the retrospective dimension, the exhibition seeks to delve into the multiple influences underlying her research, from esotericism to folklore to scientific culture, and invites reflection on how art history has long marginalized women’s contributions in the founding movements of modernity.
Hilma af Klint thus emerges as a crucial figure, capable of crossing the boundaries between art, science and spirituality, and still speaking to new generations today. An opportunity to discover an artist who, while rooted in her own time, seems to have anticipated the future.
For info visit the Grand Palais website.
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| At the Grand Palais in Paris a major monographic exhibition on Hilma af Klint |
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