YVES KLEIN (1928 - 1962) - Lot 17

Lot 17
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Estimation :
25000 - 35000 EUR
YVES KLEIN (1928 - 1962) - Lot 17
YVES KLEIN (1928 - 1962) Table Bleue, 1961 - 1963 Glass, plexiglass, chrome-plated metal, IKB® dry pigment, wood numbered 98-A11-5 and by signed Rotraut Klein-Moquay. 36 x 124.8 x 100 cm - 14 1/8 x 49 x 39 1/3 in. Yves Klein, born on 28 April 1928 in Nice, initially had a passion for judo, but devoted himself definitively to art in 1954, thus beginning his monochrome artistic journey, which he described as his “Monochrome Adventure”. He developed an exceptionally prolific artistic career within just eight years, marking a relatively short period in his life. Guided by the idea of freeing colour from the constraints of line, Klein adopted monochrome as his exclusive means of painting, seeking to reveal “what was visible in the absolute”. Placing sensibility above figuration, he transcended all artistic representation, seeing his works as the “ashes of his art”, manifestations of the artist's communication with the world, making visible reality that was otherwise invisible. Yves Klein's work redefines the role of the artist. For him, beauty pre-exists in an invisible state, and his duty is to capture it everywhere, in the air and in matter. For him, “Art is everywhere the artist arrives”, transforming his life into a total work of art. In his quest for immediacy and infinity, Klein adopted ultramarine blue, known as “IKB” (International Klein Blue), as his means of expression. This transcendent blue emits a coloured vibration that appeals not only to the viewer's vision, but also to his psyche. From his monochromes to emptiness, from the “living brush technique” to the “Anthropometries”, to the use of natural elements or gold as a passageway to the absolute, Yves Klein's work transcends the boundaries of conceptual, body and happening art. Shortly before his death in June 1962, Yves Klein confided to a friend his vision of entering “the largest studio in the world”, creating exclusively immaterial works. Between May 1954 and 6 June 1962, the date of his death, Yves Klein devoted his life to forging a flamboyant body of work that profoundly influenced his era and continues to shine today. On January 5, 1961, Yves Klein filed a patent with the INPI for a model of a “glass table supported by chrome or nickel-plated metal legs.” The realization of this artistic vision took place in 1963, one year after Yves Klein's death, under the careful supervision of Rotraut Klein-Moquay. Yves Klein ascribes a spiritual, even mystical, dimension to the three colors of these tables, elevating them to the function of a holy Trinity: gold represents the Father, blue embodies the Son, and pink symbolizes the Holy Spirit. These tables fully reflect the three fundamental colors characteristic of Yves Klein's work. The blue, inspired by the sky and sea of Nice, transcends the artistic sensibility of the artist. Gold, symbolic of eternity, also promises the immaterial and evokes religious paintings from the Middle Ages that were composed of gold leaf to evoke the realm of the spiritual. As for pink, it represents the spiritual body and flesh, holding particular importance for Yves Klein, as evident in his Anthropometries. Pink also constitutes the third component of the flame, of the fire which, when observed, reveals itself alternately blue, yellow, and pink/red, depending on the intensity of its temperature. Thus, by concluding this chromatic pantheon in three stages, pink announces the fire paintings to which the artist dedicated himself from 1961 until his death.
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