In a corner of many of the paintings are small, abstract designs and the word “Riktlinier,” which means “guideline.” These designs are af Klint’s interpretations of the spiritual messages she has received from each flower. The catalog includes four essays giving biography, historical context, her challenge to conventions of botanical drawing, and her techniques and materials. Jodi Hauptman’s essay, “Hilma af Klint’s Flora,” gives examples of the guidelines af Klint intended her designs to convey. For instance, the horned pansy she associates with Norway and with “unruliness” and “sadness.” It’s not clear how she connects these guidelines with actions by her viewers.
Abstraction is typical of the most well-known of af Klint’s paintings. A Google search reveals multiple reproductions, some even attached to tea towels and quilts. The botanical works in this catalog have been less well known but deserve their excellent reproduction here.
A November 16, 2025 article in the
New Yorker describes a fascinating contest over control of af Klint’s work between those who want to limit contact with the paintings to spiritual seekers and those who favor wider exhibitions. No trace of that quarrel appears in this catalog. If you are curious, though, the article adds spice to this already lovely and intriguing book.