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COYPEL, Charles-Antoine View of the Westerkerk, Amsterdam sf Home Sweet Home Portrait of Felicitas Seiler St Ladislaus, King of Hungary Burt Tyrolean Landscape Head of Virginia Deer Alnwick Castle, Northumberland Orchids and Hummingbirds Uusimaa Portrait of Giovanni Arnolfini and his W A View of the Ducal Palace in Venice -21 Madonna and Child Window Saint Luc West virginia Jan lievens L-ltalienne -38- Hawaiianbeaches Francesco di Stefano called Pesellino Portrait of a Young Benedictine g Red Deer -34- Mooresville Snowy Landscape A Road at Sain-Remy with Female Figure - William Henry Pyne At the Moulin de la Galette Epitaph for johann Emanuel Bremer -10- The Flagellation of Christ Odalisque or Woman of Algiers Mrs Fiske Warren -Gretchen Osgood- and H Jean Francois Millet The Return From the Boating Trip -nn01- A Wilderness Pool The Assumption of the Virgin Details of The Battle of Issus CATARINO Ecce Ancilla Domini -The Annunciation- - Madonna and Child sdg
Hilma af Klint:
1862 - 1944,was a Swedish artist and mystic whose paintings were amongst the first abstract art. She belonged to a group called 'The Five' and the paintings or diagrams were a visual representation of complex philosophical ideas. The fourth child of Captain Victor af Klint, a Swedish naval commander, and Mathilda af Klint (n??e Sonntag), Hilma af Klint spent summers with her family at their farm Hammora on the island of Adelsö in Lake Mälaren. In these idylic surroundings Hilma came into contact with nature at an early stage in her life and this deep association with natural forms was to be an inspiration in her work. From her father she adopted an interest in mathematics. In 1880 her younger sister Hermina died and it was at this time that the spiritual dimension of her life began to develop. She showed an early ability in visual art and after the family had moved to Stockholm she studied at the Academy of Fine Arts for five years during which time she learned portraiture and landscape painting . Here she met Anna Cassel, the first of the four women with whom she later worked in 'The Five' (de fem), a group of artists who shared her ideas. Her more conventional painting became the source of her financial income while the 'life's work' remained a quite separate practice.








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