Yves Klein transcended traditional artistic practice. His works plunge the viewer into a contemplative state where the color ultramarine blue becomes pure sensitivity.
The Yves Klein Archives and Pierre Frey have joined forces to create panoramic wallpapers and rugs whose dimensions respect the spirit of his genius.
On the occasion of the 60th anniversary of the artist's death, they would like to celebrate his memory and his work by sharing them with as many people as possible in an original way.
Major artist of the mid-20th century with a dazzling career, Yves Klein's artistic work consists of revealing the trace of the living, making the invisible visible, manifesting sensitivity in its purest form. His interest in the immaterial pushes him towards singular experiments where mystical reflections, performances and technologies are mixed. Known worldwide thanks to his almost exclusive use of ultramarine blue, the artist considers color to be the most appropriate medium for revealing invisible space and its depth. Color becomes matter: it inhabits space while the line only furrows it.
International Klein Blue
His reflection on blue began early on when he decided one day to paint the immensity of the cloudless blue sky. However, he struggled to obtain the vibrancy he wanted.
In 1956, he approached a Parisian color dealer, Edouard Adam, and a chemist from the Rhône-Poulenc group. Together they found a way to maintain the powdery and luminous aspect of the original color pigment by using a new fixative, Rhodopas. This marked the beginning of the blue era, when the artist devoted himself to converting the sky into monochromes.
The wallpapers printed in panoramic format perfectly transcribe the flat areas of color and the drips of the anthropometries. The carpets explore the idea of the sensitivity become matter, dear to the artist.
In these works, the model becomes a brush. Coated with paint, he impregnates his flesh with grace and strength on the canvas, leaving his imprint. Yves Klein gave precise indications to the "living brushes". Public performances are preceded by rehearsals in the studio. As an experienced judoka, the artist emphasized the formal analogy between the movements of the models on the paper and those of the judoka practicing Katas and Randoris on the tatami.
It is also a gesture of collection by which the artist takes a part of nature. The body is thus used to signify its presence in the world, as did the artists of the Paleolithic. The female body is thus glorified by the rite of the imprint, in the spirit of a revived mythology.
Paintings of fire
The Fire Paintings make visible the invisible by the imprint, the mark, the trace.
In a demiurge gesture, in the image of Prometheus, the artist unites water and fire. While the fluid flame is applied to the cardboard, a person projects water which strikes it. The contact between the two elements fixes the traces of the flows and splashes on the support. Sometimes the water is sprayed or coated with a previously wet body.
Yves Klein illuminated the French art scene from 1955 to 1962 with his solar presence. He wished not to see color but to perceive it in order to reach a degree of contemplation where color becomes pure sensitivity. Faced with a work of Yves le monochrome, one can only say that he succeeded.