Yves Klein

At the Tate Liverpool through March 5

Above: Untitled Anthropometry (ANT 84) (1960), by Yves Klein. Dry pigment and synthetic resin on paper mounted on canvas, 1550 x 3590 mm. © Yves Klein, ADAGP, Paris / DACS, London, 2016. Home page/Art page: Untitled blue monochrome (IKB 79) (1959), by Yves Klein. Paint on canvas on plywood, 1397 x 1197 x 32 mm. © Yves Klein, ADAGP, Paris and DACS, London 2016.

BY: Howard Karren

One of the great figures of postwar European art, Yves Klein (1928-1962) was a leading proponent of the avant-garde Nouveau réalisme movement, an effort to find radical new ways of seeing and of defining art. A retrospective at the at the Tate Liverpool through March 5 offers many of his best-known works: his monochromes, which led to the development of his own signature color, a kind of lapis lazuli–ultramarine blue known as International Klein Blue (IKB), below. The sponges he used to create these monochromes would sometimes be put together as Reliefs (see the pink example, below). His Fire paintings were coated with a material that would trace the path of a blowtorch he applied to them (see below). And then there were his Anthropometries: in a sensational art event that prefigured the popularity of performance art, Klein had nude models painted with his International Klein Blue roll around on massive sheets of paper. The patterns they created (see image and video above and at bottom) became the work of art. At heart Klein was a showman, as the “Leap Into the Void” photograph, below, documents. He died of a heart attack at the age of 34, but the joy and sexiness of his art comes through timelessly.

 

Untitled Fire painting (F 101) (1961), by Yves Klein. Burned paper mounted on cardboard, 625 x 520 mm. © Yves Klein, ADAGP, Paris / DACS, London, 2016. Photo © Museum moderner Kunst Stiftung Ludwig Wien.
Untitled Fire Painting (F 101) (1961), by Yves Klein. Burned paper mounted on cardboard, 625 x 520 mm. © Yves Klein, ADAGP, Paris / DACS, London, 2016. Photo © Museum moderner Kunst Stiftung Ludwig Wien.

 

Untitled blue monochrome (IKB 79) (1959), by Yves Klein. Paint on canvas on plywood, 1397 x 1197 x 32 mm. © Yves Klein, ADAGP, Paris and DACS, London 2016.
Untitled Blue Monochrome (IKB 79) (1959), by Yves Klein. Paint on canvas on plywood, 1397 x 1197 x 32 mm. © Yves Klein, ADAGP, Paris and DACS, London 2016.

 

Yves Klein’s “Leap Into the Void,” Fontenay-aux Roses, France, October 23, 1960 (1960), photographed by Harry Shunk and János Kender. Harry Shunk and Shunk-Kender photographs. Artistic action by Yves Klein © Yves Klein, ADAGP, Paris and DACS, London 2016. Collaboration Harry Shunk and János Kender © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2014.R.20).
Yves Klein’s “Leap Into the Void,” Fontenay-aux Roses, France, October 23, 1960 (1960), photographed by Harry Shunk and János Kender. Harry Shunk and Shunk-Kender photographs. Artistic action by Yves Klein © Yves Klein, ADAGP, Paris and DACS, London 2016. Collaboration Harry Shunk and János Kender © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2014.R.20).

 

Untitled Pink Sponge Relief (RE 44) (c.1960), by Yves Klein. Dry pigment and synthetic resin, pebbles and natural sponges on panel, 650 x 320 mm. © Yves Klein, ADAGP, Paris / DACS, London, 2016. Carré d’Art-Musée d’art contemporain de Nîmes. Photo David Huguenin.
Untitled Pink Sponge Relief (RE 44) (c.1960), by Yves Klein. Dry pigment and synthetic resin, pebbles and natural sponges on panel, 650 x 320 mm. © Yves Klein, ADAGP, Paris / DACS, London, 2016. Carré d’Art-Musée d’art contemporain de Nîmes. Photo David Huguenin.

 

Watch how Yves Klein’s Anthropometries came about, using naked models: