abstract painting. Some art historians assume that Kandinsky could have seen the photographs and perhaps was influenced by them while developing his own abstract path. Later in her life, she made a decision to destroy all her correspondence. She left a collection of more than 1200 paintings and 125 diaries to her nephew, Erik af Klint. Among her last paintings made in 1930s, there are two watercolours predicting the events of World War II, titled The Blitz and The Fight in the Mediterranean. Despite the popular belief that Hilma af Klint had chosen to never exhibit her abstract works during her lifetime, in recent years art historians such as Julia Voss uncovered enough evidence of af Klint making an actual effort to show her art to the public. Around 1920 in Dornach, Switzerland, af Klint met Dutch eurythmist Peggy Kloppers-Moltzer, who was also a member of The Anthroposophical Society. Later, the artist travelled to Amsterdam, where she and Kloppers discussed the possible exhibition with the editors of art and architecture magazine Wendingen. Although the Amsterdam talks did not bring any result, at least one exhibition of Hilma af Klint's abstract works actually happened in London several years later. In July 1928 in London, the World Conference on Spiritual Science took place, with Kloppers being one of the organizing committee members. Originally, Hilma af Klint was excluded from the circle of participants, but after Kloppers' insistence, the matter was settled. In July 1928 Hilma af Klint takes a boat trip from Stockholm to London, along with some of her large-scale paintings. In her postcard to Anna Cassel (discovered only in 2018) af Klint writes that she was not alone during this 4-day trip. Despite af Klint not stating the name, Julia Voss suggests that most likely her companion was Thomasine Andersson, an old friend from De Fem days. Voss also stated that despite the list of paintings presented being unknown, we can suggest that these were some extracts from the Paintings for the Temple series. Hilma af Klint died in Djursholm, Sweden in 1944, nearly 82 years old, in the aftermath of a traffic accident, having only exhibited her works a handful of times, mainly at spiritual conferences and gatherings. She is buried at Galärvarvskyrkogården in Stockholm. Signature style Hilma Af Klint's later period abstract art (1906-1920) delved into symbolism with a combination of geometry, figuration, scientific research and religious practices.