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Article, 2017, Denys Riout

"Incandescent ashes", text by Denys Riout, excerpt from an exhibition catalogue

"Quelques privilégiés, des amis, des critiques d’art furent invités à se rendre au premier étage de la galerie Colette Allendy pour y découvrir les « Surfaces et blocs de sensibilité picturale » présentés dans une salle en apparence vide. Un article dans la revue Cimaises (juillet-août 1957) et un film attestent la réalité de cette expérimentation. Le film, muet mais en couleur, organise une promenade en caméra subjective dans l’exposition, depuis l’entrée de la...
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Article, 2009, Denys Riout

"Work's value: Credit via the market", text by Denys Riout, excerpt from Arts & Societies research seminar

Besides the monochrome pictures, the anthropometries, the fire paintings, and many other projects that pertain to the realm of the visible, Yves Klein executed, exhibited, and sold some “invisible” works. I would like to show that these sales pertain to a strategy that was designed to establish their credibility, the principle of which is simple: since they are offered on the art market and since they find buyers, these impalpable creations fully exist and really do possess the status of...
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Article, 1982, Michael Blankfort

The "Zone of Immaterial Pictorial Sensitivity", testimonial from Michael Blankfort, American screenwriter, excerpt from an exhibition catalogue

Before the tragedy of his death at 34, his reputation had become firm, not only in Europe but in the United States as well. His influence survives among many young artists. I had heard about Klein’s “immaterials” from another collector, Virginia Dwan, at whose gallery in Los Angeles I had first met Yves Klein and Rotraut, his German-born wife. Thus, when I agreed to buy one, I had some inkling, but not more, of what one did. First, I had to buy 160 grams of pure gold in sixteen ingots....
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Article, 2006, Alain Bouzerand

"Beyond blue, the chromatic trilogy", text by Alain Bouzerand, extract from the book "Yves Klein, au-delà du bleu"

ONE, TWO, THREE... COLOURSIn Yves Klein's imagination and symbolism, three colours are at the zenith: blue, gold and pink. These are the three colours of the ex-voto made for Saint Rita of Cascia, the patron saint of desperate causes. They are also the colours of the three obelisks and many monochromes. In traditional symbolism, blue, the favourite colour of most Westerners, is a call to escape to wide open spaces, the sky and the sea. Zeus' favourite colour in Antiquity, by the end of the...
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Article, 2009, Sophie Cras

"Work's value: Klein's economics", text by Sophie Cras, excerpt from Arts & Societies research seminar

Throughout his career, according to him, Yves Klein was "in search of the real value of the painting". The term "value" here suggests not only the colour nuance - the famous I.K.B. blue - or the artistic merit of the work, but also the commercial value, the exchange price. From exhibition to exhibition, from speculative discourse to artistic innovation, his career has been punctuated by the ceaseless quest for the 'right price' - the price that would do justice to the artistic merit of the...
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Article, 2006, Édouard Adam

Testimonial from Edouard Adam, colour dealer and friend of Yves Klein, excerpt from the book Yves Klein dans ses murs

"In 1898, Gaston Adam, colored dealer in Versailles, moved to Montparnasse, boulevard Edgar-Quinet. Already around 1912, Matisse, Picasso and Derain (student at the Julian Academy), among other artists, frequented our House. In 1924, our father Albert Adam, elder of five boys, succeeded him. My brother Jean and I took over until 1999, when we ceded the House Adam to our friends and brothers Guy Elmalek and his son Jerome.I knew Yves Klein in the years 1954-55, he came to buy us various pigments...
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