Hilma af Klint’s Lost Legacy? The Fight Over Modern Art’s Most Mysterious Pioneer
ART Walkway Head Editor Panu Syrjämäki examines the battle over Hilma af Klint, a pioneer of abstraction.
A fierce battle is unfolding over Hilma af Klint’s legacy, one that could determine whether the visionary artist’s work remains accessible to the public—or is locked away in a private spiritual sanctuary. The Hilma af Klint Foundation, the organization tasked with preserving her work, is at war with itself.
At the center of the dispute is Erik af Klint, the foundation’s chairman and a descendant of the artist, who argues that her paintings were never meant for public exhibitions, let alone commercialization. Instead, he insists they should be housed in a temple, accessible only to “spiritual seekers” who align with Hilma’s esoteric beliefs. This position has sparked intense opposition from the foundation’s board, major art institutions, and even members of his own family, culminating in lawsuits, blocked deals, and an uncertain future for one of modern art’s most celebrated rediscoveries.
Hilma af Klint’s Lost Legacy?
For decades, Hilma af Klint was a secret of art history. A Swedish painter and mystic who worked in near isolation, she created bold, colorful, and geometric abstractions as early as 1906—years before Kandinsky, Mondrian, or Malevich, who have long been credited as pioneers of abstraction. She believed her paintings were guided by higher spiritual forces and left strict instructions that they should not be shown publicly until at least 20 years after her death.
When her work was finally rediscovered in the 1980s, it shattered art historical narratives, positioning her as the true first abstract artist of the West. In recent years, her paintings have been displayed in blockbuster exhibitions at the Guggenheim, Tate Modern, and soon MoMA, drawing millions of visitors and rewriting modern art history.
But should they have been shown at all? That’s the core of Erik af Klint’s argument. He claims that every public exhibition, book, and commercial deal—including prints, books, even socks—violates Hilma’s intentions.
“When a religion ends up in a museum, it is dead,” he said in a recent interview.
A Foundation in Chaos
The Hilma af Klint Foundation was set up in 1972 to protect and manage her vast archive of 1,300 paintings, drawings, and writings. According to its bylaws, the foundation’s mission is to make the works available to those who seek spiritual knowledge.
Erik af Klint, who became chair two years ago, interprets this as a ban on mainstream exhibitions and commercialization. He has since blocked museum partnerships, canceled licensing deals, and rejected collaborations—most notably, a proposed agreement with David Zwirner Gallery, which would have secured new research and publications on Hilma’s work.
In response, the foundation’s other board members and trustees have fought back, accusing Erik of grossly misinterpreting Hilma’s wishes and actively sabotaging efforts to keep her work visible.
“The claim that only a select few people may view the art is a deep misreading of Hilma’s intentions,” said Varg Gyllander, the board’s spokesperson.
According to legal experts familiar with the case, the foundation’s bylaws are open to interpretation, making the battle even more complex. Some argue that Erik has the right to enforce his vision, while others believe the foundation’s broader mission allows for public exhibitions. If Erik gains full control, museums and collectors may be forced to return or remove Hilma’s works from display.
“This case could set a dangerous precedent for artist foundations and estates worldwide,” said ART Walkway’s Head Editor, Panu Syrjämäki. “If one person can dictate the fate of an entire body of work based on their personal interpretation, it threatens the integrity of historical preservation.”
The High Stakes Battle for Hilma’s Legacy
At risk is not just Hilma af Klint’s public visibility, but the very way art history is written. If Erik wins his battle to lock her works away, they could disappear from major museums entirely—possibly for good.
This raises larger ethical and philosophical questions:
Who has the right to decide an artist’s legacy? Should an artist’s spiritual or personal beliefs override public interest and historical importance? Can an artist’s wishes be followed literally, even if they prevent future generations from seeing their work?
Critics argue that keeping the works hidden would be a cultural tragedy. Hilma af Klint’s rise in art history has not only corrected a historical injustice, but has inspired new generations of artists, historians, and spiritual seekers alike.
“There would be major protests across the art world,” warned German art critic Julia Voss, who has written a biography of Hilma. “How would one even determine who qualifies as a ‘spiritual seeker’?”
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The Uncertain Future of Hilma’s Work
For now, Erik remains outnumbered within the foundation, and his efforts to force the board’s resignation are tied up in court. There is no public confirmation that he will resign and be replaced by another family member if he loses, but his impact on the foundation’s direction remains significant.
Meanwhile, major institutions like MoMA and David Zwirner Gallery are waiting in limbo, unsure whether their planned exhibitions and publications will proceed.
“What happens next will determine whether Hilma af Klint remains a transformative force in art history or a lost legend locked away from the world,” said Syrjämäki. “This is more than a family dispute—it’s a battle over who controls history.”
Whether Hilma af Klint remains a public figure or retreats back into obscurity depends on the outcome of this battle. And with art history, public access, and a century-old mystery at stake, the world is watching.
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