THE WOMAN WHO PAINTED FOR THE FUTURE

 THE WOMAN WHO PAINTED FOR THE FUTURE

In the summer of 1986, a Swedish farmer recovered his abandoned country house from the last tenant that rented it. In the basement next to the house, he found a huge wooden boxes covered with dust many years. When he opened them he was baffled.

 There were 1200 paintings, some very large, with geometric figures of intense colors. He called a neighbor who is more learned or informed, but didn't even understand what they had just discovered. They assumed that the paintings formed a huge scenario.

 They decided to call a friend who worked in a museum over and asked him if the paintings had a signature. "Yes - said the neighbor - the signature was Hilma Klint." Some art officials and officials arrived and took away the boxes. A few weeks later the Stockholm Art Museum has released an unusual discovery.

  It was more than a thousand paintings, drawings and theoretical wise words, a totally abstract work, with pure geometric shapes of color and precise invoice, signed and dated in the last years of the 19th century and the early 20th century. 

The unusual was in the dates: they had been painted before Kandinsky, Malevich and Mondrian "invented" the abstract painting. Hilma was a clear precursor then. Why did no one know about her? Why were the paintings hidden?

Hilma af Klint was born in Stockholm in 1862. Her father was a mathematician and had a large library where little Hilma described everything about geometry and art. At twenty years old I entered the Swedish Academy of Arts, one of the few schools that admitted women and was part of the first generation of European painters that set up exhibitions and lived of their work. 

She painted realistic portraits and landscapes that were well appreciated by his clients. Let’s say that he was doing a decent and well done work but not purposeful.

In those years X-rays were invented and they discovered electromagnetic waves, which could send information through air and emptiness. These events have blown Hilma's head, which came to the conclusion that there are invisible parallel worlds.

 Interested in these alternative realities and different plans of perception. Because at that time science was revolted with spirituality, or at least their borders were spread, Hilma went to have spiritual sessions. She also encouraged the possibility to communicate with the most beloved of her sisters, who already died. 

She couldn't communicate with his sister, but he formed a club with five other women; they met every Friday, summoned spirits and performed automatic painting and poetry sessions (which the Surrealists did years later). Hilma began to create rare paintings with random stains, pretending to let go of other energy, then went to order that chaos based on the geometric structures of nature, which she knew well since she was a child. She liked it.

 He liked it so much that he wanted to forget his previous landscapes and portraits. However, she feared for her reputation as a "serious retratist" and her economic solvility. She made a confusing decision: lead a double life. She dedicated a few days to painting his commissions and others to close himself in a country house to unleash a creative passion that he kept absolutely secret. Two painters in one person. 

This took her several years and the day she made her will, she put her grandson Erick as the only heir, provided she kept her paintings in wooden boxes, which could only be opened twenty years after her death in a Garden. Why the hell did she decide this? Perhaps she considered her paintings a very intimate and sincere view, only about herself; perhaps she thought that her work was completely out of academic rules and making it public would end her successful career; or Maybe she had the ego and the huge arrogance to assume that The world wasn't ready to see his work. Pure assumptions. Hilma didn't explain a thing.

But here you go that life has decided another thing: the grandson left this world before the day of the revelation and the paintings remained hidden for many years more than Hilma wanted, until 1986, when the Swedish farmer was there He found or in his basement.

In the Eighties, the avant-garden of the early century were already totally assimilated; art followed its paths, more different than ever. Amidst this world noise, Hilma af Klint came back from the afterlife to take her place as the true mother of all adventurers of extortion.