Hilma af Klint’s Scientific Influences: Unraveling Potential Connections with Thomas Young
Introduction
A recent examination of Swedish painter Hilma af Klint has raised discussions about her potential influences from the scientific work of Thomas Young, an influential 19th-century physicist. Although Young and af Klint lived in different times with no documented interactions, art historian Eleanor Lundgren argues that parallels exist between Young’s theories and af Klint’s artwork. This exploration sheds light on how emerging scientific ideas may have informed af Klint’s groundbreaking abstract art.
Different Eras, Similar Ideas
Thomas Young passed away in 1829, while Hilma af Klint was born in 1862, creating a temporal gap that complicates direct influence. Nonetheless, af Klint was known for her strong interest in various scientific fields, including evolution, botany, color theory, and physics. Although most of her references stemmed from contemporary scientists, Lundgren highlights that af Klint maintained a personal library that included a copy of an 1823 astronomy book, indicating a broader curiosity about scientific developments.
Influence of Invisible Light
Af Klint was commissioned to paint a portrait of Swedish physicist Knut Angstrom in 1910, whose university library housed Young’s Lectures. It stands to reason that af Klint might have encountered Young’s work, particularly those sections discussing "invisible light." This concept includes discoveries concerning electromagnetism and x-rays, which emotionally engaged scientists and artists alike during the period.
The Spiritual and Scientific Intersection
One notable speculation in Young’s Lectures involved a universal ether—a concept that has since been disproven but fascinated scientists and spiritualists of the late 19th and early 20th centuries. Young’s ideas were found in P.G. Tait and Balfour Stewart’s 1875 text, Unseen Universe, presenting arguments that resonated with the occult interests prevalent during that time. Among those captivated by such themes was Helena Petrovna Blavatsky, founder of the Theosophical Society, who is known to have influenced af Klint around the time she created some of her most significant works, including The Swan and Altarpieces series.
Parallels in Artistic Vision
Lundgren’s analysis suggests that Young’s color figures might decode elements within af Klint’s paintings. For instance, the caption accompanying Young’s Plate XXIX describes "oblique stripes of color" when candlelight is viewed through a prism. Lundgren notes this description closely resembles features found in af Klint’s Group X., No. 1, Altarpiece, further establishing a conceptual bridge between the physicist and the artist.
Conclusion
The newfound correlations between Hilma af Klint’s work and Thomas Young’s scientific ideas illuminate how art and science often intersect in profound ways. While the direct evidence of influence remains murky, the thematic resonances in their works invite a reevaluation of af Klint’s artistic context within the increasing awareness of scientific exploration during her lifetime. As contemporary audiences continue to engage with af Klint’s contributions to abstract art, understanding her potential inspirations enriches the dialogue between the emerging ideas of science and the evolving landscape of modern art, underscoring the significance of interdisciplinary dialogue in shaping cultural masterpieces.
