| |
1955 |
Yves Klein proposed an orange monochrome for the Salon des réalités
nouvelles. His painting is rejected. He is asked to add a sign to his monochrome
to transform the piece into an abstract work, but he refuses. The monochromes
originated from Yves Klien. With these monochromes, he avoids introducing
an element that is for him exterior to his painting, similar to philosophical,
psychological and analytical interpretations of form. |
| |
1957 |
He exhibits his work at the Galerie Iris Clert and the Galerie Colette Allendy
(Paris). An invitation for both shows is sent with a blue stamp and a 1001
blue balloons are released for the opening. At the Galerie Colette Allendy,
one room was left empty to manifest the immaterial origin of art: this action
came before his 'Exposition vide' which appeared the following year. |
| |
1958 |
The public was invited to the opening of an exhibition at the Galerie Iris
Clert entitled 'La Spécialisation de la sensibilité à
l’état matière première en sensibilité
picturale stabilisée'. The windows of the gallery were painted blue
and the interieur of the room was left completely empty. A blue rendering
of the Concord obelisk was intended to be a part of the opening, but it
was not permitted by the Préfet de Paris. |
| |
1959 |
He sells his first 'zones de sensibilité picturale immatérielle'
at the prix of 20 grams of fine gold: the buyer received a certificate of
property conceived and signed by Yves Klein. The gold powder was then thrown
in the air and the buyer had to destroy his receipt. This transaction which
seemed far from an artistic preoccupation consisted of the sensibility of
the 'acquirer' to the idea of the first : the immaterial sensibility of
emptiness. |
| |
1960 |
The blue that he uses from his monochromes is patented by the artist under
the name 'International Klein Blue'. |
| |
1961 |
Yves Klein creates his first 'Saut dans le vide'. Then at the Galerie International
d'Art Contemporain de Paris, he organizes a performance: The Anthropométrics.
The 'Monotone' symphony is executed in front of the invitees as well as
three nude models who cover themselves in blue paint to impose a print of
their bodies on white paper. |
| |
1962 |
On June 6, 1962, Yves Klein succumbs to his third heart attack of the year.
|
| |
|
|
| |
Literature |
|
| |
1990 |
Pierre Restany, Yves Klein : 'le feu au cœur du vide' (La Différence)
Paris |
| |
1983 |
Catherine Millet, Yves Klein, Art Press (Flammarion) Paris |
| |
1959 |
Texte de Yves Klein: Le dépassement de la problématique de
l’art (Éd. Montbliart) |
