Yves Klein during the filming of the documentary « Heartbeat of France » in the studio of the photographer Charles Wilp, Dusseldorf, February 1961.
Yves Klein, born in 1928 in Nice, began vocationally as a judoka, earning the highest honour in the matrial art and spending fifteen months in Japan. It was only back in Paris, in 1954, that he dedicated himself fully to art, setting out on his ‘adventure into monochrome’.
Animated by a quest to ‘liberate colour from the prison that is the line’, Yves Klein directed his attention to the monochrome which, to him, was the only form of painting that allowed to ‘make visible the absolute’.
By choosing to express feeling rather than figurative form, Yves Klein moved beyond ideas of artistic representation, conceiving the work of art instead as a trace of communication between the artist and the world; invisible truth made visible. His works, he said, were to be ‘the ashes of his art’, traces of that which the eye could not see.
Yves Klein’s practice revealed of new way of conceptualising the role of the artist, conceiving his whole life as an artwork. ‘Art is everywhere that the artist goes’, he once declared. According to him, beauty existed everywhere, but in a state of invisibility. His task was to to capture beauty wherever it might be found, in matter as in air.
The artist used blue as the vehicle for his quest to capture immateriality and the infinite. His celebrated bluer-than-blue hue, soon to be named ‘IKB’ (International Klein Blue), radiates colourful waves, engaging not only the eyes of the viewer, but in fact allowing us see with our souls, to read with our imaginations.
From monochromes, to the void, to his ‘technique of living brushes’ or ‘Anthropometry’; by way of his deployment of nature’s elements in order to manifest their creative life-force; and his use of gold as a portal to the absolute; Yves Klein developed a ground-breaking practice that broke down boundaries between conceptual art, sculpture, painting, and performance.
Just before dying, Yves Klein told a friend, "I am going to go into the biggest studio in the world, and I will only do immaterial works." He died in 1962, at the age of 34, leaving behind him a body of work that, to this day, remains daring, radical, and infinite.