300:' dismissed line as a âtourist walking across the spaceâ. For him lines were a âprison gratingâ, whereas the fine individual particles of colour were an expression of âtotal freedomâ. He attempted to free himself from all materiality through the totality of colour. In gold, red and especially dark, deep ultramarine blue he found colours that corresponded adequately to his visions of the immaterial and the infinite. He wanted to induce independent sensations, feelings and reactions in viewers without giving them a depicted object or an abstract sign as a starting-point, just by means of the state and effect of the colour. He saw monochrome as an âopen window to freedom, as the possibility of being immersed in the immeasurable existence of colourâ Ulrike Lehmann
108:"The booklet asserts its character straightaway in the preface: a wordless text of unbroken horizontal lines with the same two paragraph indentations on each page.... a homogenous continuum with no real beginning, middle, or end, and no content - at least insofar as there are no descriptions, analyses, or personalized utterances. The colour plates are similarly presented as anonymous entities, each a flat spatial field of an uninflected hue: turquoise, brown, purple, green, pink, gray, yellow, ultramarine, mint, orange, or red. Here, too, there is no attempt to represent or symbolize anything....
329:'Yesterday night, Wednesday, we went into an abstract café⊠the abstractionists were there. They are easy to recognize because they give off an atmosphere of abstract painting, plus you see their paintings in their eyes. Maybe Iâm delirious, but I have the impression I see things like that. In any event, we sat down with them. Then we began speaking of the book
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Restany, to call Klein an early post-modernist. The main structural difference was the accrediting of ownership in the captions (Collection
Particuliere, Collection Orickson, Collection Raymond Hains, etc.). This implies the (fictional) artist was a painter of some stature, with work collected in major collections. According to
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credited to âPascal Claudeâ, (Claude Pascal, a close friend of Klein's), the introduction was actually designed by Klein himself, persuading Pascal to sign it to âcertify the productionâ. 10 vivid monochromatic plates follow, mechanically signed âYvesâ, each given unspecified numerical dimensions and assigned a large city.
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The cities are all places Klein had lived and worked in the preceding 4 years, implying either that the idea for each work had come to him in the relevant city, or that the work was an abstract representation of the city's atmosphere. There are three versions of the book; one in which the plates have
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is a small booklet, 24.4 cm by 19.7 cm, containing 16 sheets of unbound paper, each printed on one side only and 10 containing tipped-in sheets of coloured paper. Starting with a preface of 3 pages consisting entirely of horizontal black lines designed to parody a traditional introduction
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The booklet thus offers an utterly pared down presentation. Unlike most art books, it provides no reverential prose about the artist or the art, and no embellishing descriptions meant to convey meaning or context. Instead the booklet itself is made into a work of art that shares the same spirit of
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is basically the same book, and was published at the same time, but attributed to a different, unknown, artist. Curiously, some of the plates are still mechanically signed âYvesâ, part of a series of deliberate strategies to undermine the worksâ integrity, leading some critics, such as Pierre
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Upon his return to Paris in
February 1954, he was deeply upset to discover that his diploma would not be officially recognised by the French Federation of Judo, meaning he could not officially teach or effectively participate in French Judo activities. He responded by publishing a book,
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333:. Later, I went to get it from the car and I laid it down on the table. At the very first few pages the abstractionistsâ eyes began to change. Their eyes lit up and in the depths, pure, beautiful single colors appeared.' Paris newspaper, dated January 13, 1955
181:, which is essentially prevalent in KĆdĆkan judo, being primarily concerned with an increased sensitivity for the present and an extended concept of space and time, a new form of spirituality for Klein, and a direct effect upon his artistic activities.'
264:, a group of French avant garde artists who were challenging the assumed authority of texts by creating âan experiential language that was to be the basis of (the) new culture.â By 1952, he had seen various works by key members of the group, including
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Klein had painted his first monochromes - paintings consisting of a single colour - whilst working in a framing shop in London in late 1949 which he exhibited in his room privately, inviting only friends. Initially influenced by his readings of
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84:, on 18 November 1954. This publication was Klein's first public gesture as an artist, featuring pages of 'commercially printed papers' that were seemingly reproductions of paintings that, in fact, didn't exist. Using a practice started by
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276:, and had become a close friend of DufrĂȘne in particular. The lettrists advocated challenging textual authority, and would serve as a direct reference point for the introduction. He was also familiar with the work of
243:â The fact that there were two different monochrome artists featured in two nearly identical booklets augmented the manifestations of doubling, duplication and duplicity that lay at the core of the project.â
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The book was published by
Fernando Franco de Sarabia's engraving workshop in Jaen near Madrid, in a numbered edition of 150; despite this, there are believed to only be around 10 copies in existence.
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the name Yves next to the cities with a date; one with additional information about the size of each work, and one in which the entire work is credited to 'Haguenault'.
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in the 19th century, in an attempt to establish a reputation in France by circumventing the federation. Unable to teach in France, he took a post in
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in May. It was whilst he was in Spain that he formulated and published his first public gesture as an artist:
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McEvilley, T. Yves Klein: Messenger of the Age of Space. Artforum 20, no.5. January 1982. pp. 38-51
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The book seems to have had a small but influential impact on the
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objects to represent nothing but themselves has been referred to as an early example of
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has since been re-published by
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955:, Edition FiguiĂšre, Paris, 1912 (First English edition: Cubism, Unwin, London, 1913)
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Tate
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Pierre
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nothingness exemplified by the monochrome paintings that it features."
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Yves Klein, Berggruen, Hollein, Pfeiffer, Hatje Cantz, p216-7
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La prose du
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Yves Klein, Berggruen, Hollein, Pfeiffer, Hatje Cantz, p216
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Yves Klein, 1928-1962, Selected Writings, Tate Gallery p82
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La Peinture et ses lois, ce qui devait sortir du Cubisme
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Catalogue for "Yves Klein: Monochrome und Feuer" at the
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The Rosicrucian Cosmo-Conception or Mystic Christianity
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http://www.yveskleinarchives.org/documents/bio_us.html
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104:is at once sublime and mischievous.'
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100:. 'The simplicity of his
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266:Isidore Isou
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1127:Arte Povera
761:(1959â1962)
348:(1959â1962)
245:Sidra Stich
195:KanĆ JigorĆ
116:Sidra Stich
1344:French art
1329:1954 books
1323:Categories
1261:Grapefruit
1207:A Humument
1081:Surrealism
830:Fred Klein
675:Yves Klein
388:References
274:Guy Debord
251:Influences
102:readymades
78:Yves Klein
38:Yves Klein
1254:Water Yam
1086:Modernism
1038:BĂF§ZF+18
1004:Vorticism
714:Hiroshima
682:Paintings
317:Reception
290:readymade
90:readymade
1268:Fluxus 1
1173:Dimanche
1152:MĂ©moires
1113:Lettrism
1000:Futurism
838:(mother)
832:(father)
766:Dimanche
632:Archived
564:Archived
537:Archived
534:Lettrism
353:Dimanche
305:Editions
262:Lettrism
222:frescoes
72:) is an
1184:Pop Art
812:Related
190:, (see
1218:Fluxus
982:KlÀnge
935:Cubism
826:(wife)
788:(1960)
769:(1960)
753:(1954)
725:(1962)
717:(1961)
709:(1960)
701:(1960)
693:(1959)
690:IKB 79
356:(1960)
272:&
199:Madrid
82:Madrid
68:(Eng:
34:Author
1166:Linee
1031:BLAST
796:Color
777:Music
286:Arman
163:Tokyo
156:Arman
54:Pages
1220:and
1125:and
1102:Jazz
1084:and
1008:Dada
1006:and
951:and
933:and
152:Judo
179:Zen
171:Dan
1325::
1115:,
1079:,
1002:,
963:,
947:,
508:^
467:^
416:^
296:.
205:.
57:40
1119:,
890:e
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667:e
660:t
653:v
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