Yves Klein
French
painter
Voyage
Through the Void of the Immaterial
Time
magazine January 1961
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Yves
Klein (photo Time
magazine)
Yves
Klein “living brushes”
Voyage Through the Void of the Immaterial
Throughout
the centuries artists have used models in assorted ways, but no one has ever used them in quite the manner of
Parisian Painter Yves Klein. He has his nude models smear themselves with
paint, then lets them hurl themselves at a blank canvas while he shouts
directions from a stepladder.
By such
tricks, Klein has become at 32 the fad of gallery-going France, and his prices
have risen fourfold in the past two years. Last week he invaded West Germany
with an eyebrow-raising exhibit in the textile town of Krefeld, twelve miles
northwest of Dusseldorf. The good people of Krefeld hardly knew what to make of
it.
The son of a
Dutch figurative painter Klein took to art after briefly trying his hand at
training race horses in Ireland and then at professional judo wrestling in
Japan. He found that working with brushes was too finicky, so he bought himself
a paint roller that could cover even the biggest canvas in a trice. In time,
when rollers proved a bore, he hit upon the idea of smeared models, whom he
calls “living brushes.”
With this
technique, Klein does not have to touch the painting at all: “I want to be the
umpire between the canvas and the animal, vegetable and mineral kingdoms” he explains.
Some of
Klein's early paintings were all some all red, still others orange. But Klein's
favorite color is I.K.B. (International Klein Blue), which has something to do with the space age.
In Krefeld
last week there were generous expanses of I.K.B., some “living brush” canvases,
and a few paintings that looked as if they had been left out in the rain. They
had. Klein produced The Wind of the
Voyage by strapping a large I.K.B. canvas to the radiator of his car and
driving through a storm. Says he: “It gives me a feeling that I am not wasting
my time when I drive.”
“The true
painter,” declares Klein, “is the one who creates nothing visible.” Indeed, he
calls his art “a voyage through the void of the
immaterial.”
At times
Klein's work becomes so immaterial it does not even exist. In his last Paris
show he offered for S600 something called A
Zone of Immaterial Sensibility, hors serie.
It was nothing but the “gallery atmosphere.”
Time magazine, January 27, 1961,
p. 58.
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[ ανάρτηση 20 Δεκεμβρίου 2024 :
Yves Klein
French painter
“ Voyage through the void of the Immaterial ”
Time magazine January 1961
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