Yves Klein’s Blue Void

Fascinated with cosmology, spirituality, space and nothing but the sensual, Yves Klein charted his own unique, path, achieving immortality.

Yves Klein, Ant 50, 1960. Synthetic resin and lipstick on paper laid down on canvas. Courtesy of Christie’s

A good artwork, most of the time, contains a strong psychological component that comes off the paintbrush as the artist transfers a part of himself onto the canvas. There is a consistency between his emotions, his spirituality, his inner credo and self-affirmation, and the product, namely his artworks. This is a feature particularly evident throughout Yves Klein’s oeuvre, sparked by great ambition and a strong belief in what he was crafting. 

The allure of the cosmological artist has rebounded as of late after Klein’s popularity waned slowly after his death, overshadowing his heroic artistic attempts.  In 1957 patent number 63471 was issued by the French patent office, which recognized International Klein Blue that was first mixed by the artist, acknowledging his unparalleled legacy. IKB is what Klein late in his life defined as “a blue in itself, disengaged from all formal justifications,” and it’s what marks his key oeuvre. His hypnotizing blue works remain his signature, a testament to how this artist revolutionized the 20th-century art scene. Bold and forward-thinking, he crafted his blue hue, and his true essence was mirrored in the immaculateness of the pigment. The color allows the viewer to plunge into the clearness of the texture, experiencing Klein’s proclamation: “It will be blue and nothing else but blue that I will devote my life to.” 

Yves Klein, Untitled Blue Monochrome (IKB 239), 1959. Dry pigment and synthetic resin on canvas laid down on panel. Courtesy of Sotheby’s

The application of blue pigment is ancient and fascinating. Blue has a long history of its own, and it traces back to its widespread use to depict the Virgin Mary’s robes. In modern times, for Kandinsky blue was the most philosophical and spiritual of colors, the one able to make people feel good, while Picasso applied blue as color expressing depression, entering the so-called blue phase after a great loss. Miro used blue to paint his dreams. Hitherto considered as generally linked to melancholy and sadness, this assignment of the color was not exclusively linked to emotions, but also had economic and social causes. This pigment was difficult to produce in the olden times, and it was expensive and difficult to obtain. As opposed to earthly colors, blue was not readily available in nature, nor easy to purchase. However, by the 20th century, a series of cheaper blue alternatives and a synthetic ultramarine opened new boundaries, and Klein could craft his own. At odds with ordinary blues, IKB has the power to plunge the viewer into a dreamlike state that attracts and repels simultaneously. IKB stands out for its specific hue quality and the effect it produces. It is not just the quality of the color that captures the attention but also the circumstances of its application that mark a significant chapter in art history.