Yves Klein is the
French artist most known and with dimensions
of second half of the xxth century. His works are negotiated besides at
the full price - 6,1 million dollars for one paintingof in 2000, in New
York. Yves Klein, owes his
celebrity with the invention of his famous blue, of which it deposited,
in 1960, the patent which always bears its name, the IKB (International
Klein Blue). This pigment overseas, which inspired to him the sky of
the Mediterranean very as much as the frescos of Giotto of the
Saint-François basilica, in Assise, is at the base of its
Monochromic.
Only sons of a couple of painters, Klein arrived at
art by the means of the judo, which it practises as of adolescence. Its
passion is such as in 1952, at the 24 years age, he travels out to for
Japan
in order to follow the teaching of the Masters there. It will return
from there, the following year, girdles black 4th daN and, especially,
convinced that the judo is the “discovery of a spiritual space by the
human body”. Because the young adult taking into consideration ember is
initially a mystic. It is thus not a chance if, about the same time, it
is initiated with the esoteric philosophy of the Rosicrucian
brotherhood, announcing “the end of the age of the matter and the
paddle of that of space”.
As of its first exhibition, in 1955, it designs its work
like a ceaseless search of spirituality, independently of the means of
expression used. Because its multiform work is not limited to the “blue
revolution”. Through the monochromic ones, which can be also avoided of
pink or of gold - its other colors fetishes - it seeks to reach the
absolute. And, when it carries out its Paintings of fire to the flame
thrower or its Cosmogonies - tables which it delivers to the bad
weather so that they keep the trace of the wind or the rain - it is
still the immateriality which it aims. To help it to achieve his goals,
Klein calls upon, on the councils of an aunt, holy Rita, owner of the
desperate causes. He will achieve even several pilgrimages in Italy in
his monastery of Cascia.
Obviously, the poet and the idealist who it is were
not always understood. Quickly become, thanks to its innate
direction of the communication, the idol of Montparnasse, holding
living room in Sélect and the Cupola, it was also the prey of
the gibes. Especially when its overflowing enthusiasm leads it to the
limits of the limits. Thus, this April 28, 1958, when the guests cross
the door of the gallery Iris Clert, street of the Art schools, where an
exhibition is devoted to him, they discover with stupor a naked space
with the coldly repainted walls of white. Criticisms, furious, baptize
the event the “Exposure of the vacuum”, without putting questions more.
“The vacuum is a concept different from nothing”, rétorque
Klein, an ironic bit and all with its search of dematerialization. Two
years later, according to this same logic, here which decides to sell
“zones of immaterial pictorial sensitivity” - non-existent works by
definition - in exchange of small quantities of gold, piers then in the
Seine. At the time of a ceremony, the purchaser - the Italian writer
Dino Buzzati was one of them - sees himself then allotting a receipt,
that it must burn in front of witnesses so that the transaction remains
purely immaterial. It is on this impetus that Yves Klein will achieve,
in
1960, its famous jump in the vacuum. On a photograph which will prove
to be an assembly, one sees it throwing top of a house and remaining in
balance between sky and ground, as in levitation, ultimate dream of the
man. In reality, it falls down in a cover tended by friends judokas
(revoilà). But, such Icare, it will finish by burning the wings,
embanked, at 34 years, by a heart attack. Lengthened on its bed, right
before dying, Klein entrusts to a friend: “I will enter the largest
workshop of the world. And I will make only immaterial works there.”