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Air Architecture

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Editorial, 2013, Christelle Lecœur

"The Pneumatic Rocket, a rocket to space project", by Christelle Lecoeur

"At the turn of the 1950s, Yves Klein’s interest turned to speed, as was the case with many other artists, including Georges Mathieu. In 1958, at the height of the Russo-American space race, when the first Sputnik and Explorer satellites were launched, Klein, in whose work space played a central role, conceived a rocket “which accelerates by progressive pulsations, ad infinitum.” Made to travel through space, it would convey no information, carry no travellers and have no destination. Its...

Anthropometries

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Editorial, 1960, Yves Klein

"I have been painting (...) from models", excerpts from writings

"I have been painting already for several years most often from models and even with the effective collaboration of models. Indeed, for a long time I have wondered why figurative painters or even sometimes abstract painters such as Fautrier, for example, feel the need to paint nudes. To simply seek out a living human form to draw and to copy after nature was not good enough a reason for me; I felt that there must be something else. The nude model brings sensuality into the atmosphere. Careful:...
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Editorial, 2004, Philippe Vergne

"Mondo Cane Shroud", (ANT SU 8 I), text by Philippe Vergne

Half shaman, half showman, a judo champion who “leapt into the void,” a mystic devoted to Saint Rita and self-identified as the painter of space who plotted an ultramarine blue revolution, an architect who dreamed of walls of fire and roofs of air, Yves Klein took the European art scene by storm through a career that barely lasted eight years (1954–1962). After that, it was impossible to look at painting, sculpture, photography, architecture, and music the same way, so intense was...
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Editorial, 2006, Elena Palumbo-Mosca

"A signature, through my body, of beauty and cosmic energy", testimonial from Elena Palumbo-Mosca

Born in Turin, Elena Palumbo-Mosca met Yves Klein when she was an au pair in Nice at Arman and Eliane Radigue because he was a great friend of the couple. She befriended him and was one of his models."When I am asked to talk about my experience as a "model" of Yves, it is not easy for me now to summarize in a few words the ideas and emotions that I found at the time absolutely normal, and even, I dare say it, natural. It was our way of life, experimenting, seeking and trying to understand the...
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Editorial, 2012, Frédéric Prot

"The "Great Blue Anthropophagy", (ANT 76), by Frédéric Prot

"In 1960, he created a huge anthropometry on paper glued to a backing board, the Grande anthropophagie bleue. Hommage à Tennessee Williams. The work appears like the tangled swirls of the great battle the model joined on its surface. With the blue which covered over her body’s prints? Some time before, Yves Klein had seen Joseph Mankiewicz’s film, Suddenly, Last Summer (1959), based on the play of the same title by Tennessee Williams. He was struck by one scene in particular. It takes...
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Editorial, 2012, Elena Palumbo-Mosca

Anthropometries, interview with Elena Palumbo-Mosca

"I met Yves when I was working and living in Nice. This collaboration came much later when we both lived in Paris. Yves was always experiencing new ways of expressing what he wanted to say and what he felt he had to say. For me it was quite easy to do it because I was used to using my body and I could execute with a certain precision what he asked me to do.People have criticised the work since, the way that he used naked female models as instruments in his work and they were called living...
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Editorial, 2017, Denys Riout

"Bodies, flesh and imprints", by Denys Riout

Having immaterialised blue, having gone beyond the problem of art, can we go any further? Probably not, but going elsewhere is certainly possible. And that's exactly what Klein did. Alongside the monochrome/immaterial pictorial sensibility axis, he never stopped exploring other paths, conquering hitherto unknown domains and inventing possible territories. At the very moment when he deprived the monochrome painting of matter, he gave painting an unexpected physicality. On 5 June 1958, shortly...

Cosmogonies

Fire Paintings

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Editorial, 1959, Yves Klein

"Fire is beautiful in itself, regardless", excerpts from writings

"Fire for me is the future without forgetting the past. It is the memory of nature. (...) It is gentleness: [Fire] is gentleness and torture. It is cookery and it is apocalypse. It is a pleasure for the good child sitting prudently by the hearth; yet it punishes any disobedience when the child wishes to play too close to its flames. It is well-being and it is respect. It is a tutelary and a terrible divinity, both good and bad. It can contradict itself; thus it is one of the principles of...
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Editorial, 1983, Catherine Millet

Fire paintings, by Catherine Millet

The influence of alchemy restores to the artist a mastery of the universe that the ways of modern painting had thus made him lose. Yves Klein has emerged as the ultimate demiurge artist. From 1951, visiting the gardens of Granja near Madrid, Klein imagines in front of the basins and their water jets, what would be these same fountains spitting fire. The idea will be repeated in 1958 as part of a collaboration with the artist Norbert Kricke, then in 1961 with Claude Parent. The last project was...
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Editorial, 2012, Rotraut, Frédéric Prot

"Untitled Coloured Fire Painting", (FC 1) by Frédéric Prot

“The deepest thing in man is his skin.” (Valery)The horizon is the most distant point where earth and sky seem to be welding their depth in order to be one. In the same way, when the skin is squeezed, it bears one off to its buried domain, its reserve of power. Of this feeling, Yves Klein obtained an impossible image of this sensation.In 1961, in the workshops of the Centre d'Essai de Gaz de France, a naked model, dripping with water, rolled over cardboard, imprinting her flesh. The model...
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Editorial, 2021, Frédéric Prot

Fire paintings, by Frédéric Prot

Making new beauties out of its audacity. Paintings of fire! It was in March and July 1961 that Yves Klein finally carried out his project. The Centre d'Essai de Gaz de France, in Saint-Denis, agreed to provide him with the necessary workshops and equipment. More than 150 works on cardboard were produced.The films and archive photographs show Yves Klein with the torch in his hands. A white, liquid fire blows. The flames melt on the cardboard and spread.When it is all over, it is there, in front...
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