Yves Klein Quotes
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This period of blue monochrome was the product of my pursuit of the indefinable in painting which that master, Eugène Delacroix Romantic French painter was able to indicate even in his day.
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For me, each nuance of a color is in some way an individual, a being who is not only from the same race as the base color, but who definitely possesses a distinct character and personal soul.
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I am against the line and all its consequences: contours, forms, composition. All paintings of whatever sort, figuratives or abstract, seem to me like prison windows in which the lines, precisely are the bars.
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The dominant invades the entire picture, as it were. In this way I seek to individualize the color, because I have come to believe that there is a living world of each color and I express these worlds.
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It was pure chance that led me to judo. Judo has helped me to understand that pictorial space is above al the product of spiritual exercises. Judo is in fact the discovery by the human body of a spiritual space.
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Dubbed as a Knight of the Order of Saint Sebastian, I espoused the cause of pure colour, which has been invaded by guile, occupied and oppressed in cowardly fashion by line and its manifestation; drawing in Art. I aimed to defend and deliver it, and lead it to triumph and final glory.
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The world is blue.
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The glaring obviousness of my paternity of monochromy in the twentieth century is such that even if I myself were to fight hard against that fact I should probably never manage to rid myself of it.
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Friday, 14 March,
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It was then that I remembered the colour blue, the blue of the sky in nice that was at the origin of my career as monochromist. I started work towards the end of 1956 and in 1957 I had an exhibition in Milan which consisted entirely of what I dared to call my 'Epoque bleue'.
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I was trying to show colour, but I realized at the private view that the public were prisoners of a preconceived point of view and that, confronted with all these surfaces of different colours, they responded far more to the inter-relationship of the different propositions, they reconstituted the elements of a decorative polychromy.
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In 1946, when I was still an adolescent, I went and signed my name on the other side of the sky during a fantastic 'realistico-imaginary' voyage.
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My monochrome pictures are not my definite works, but the preparation for my works. They are the left-overs from the creative processes, the ashes. My pictures, after all, are only the title-deeds to my property which I have to produce when I am asked to prove that I am a proprietor.
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To project my mark outside myself – but I did it! walking in the streets of Venice Klein wore a shirt imprinted with the marks of his own hands and feet.. .I found myself confronting everything that was psychological in me. I had proof that I had five senses, that I knew how to get myself to function! And then I lost my childhood...
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A bill for 20 grams of Pure Gold, for one painted area of sensibilized immaterial. about 1958, text on a bill for selling 'air'
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Space is waiting for our love, as I am longing for you; go with me, travelling through space.. line in a poem of Klein himself
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The essential of painting is that something, that 'ethereal glue', that intermediary product which the artist secretes with all his creative being and which he has to place, to encrust, to impregnate into the pictorial stuff of the painting.
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I want to take as the canvas for my next picture the entire surface of France. This picture will be called 'The Blue Revolution'. It isn’t the fact of my taking power in France that interests me, but rather the possibility of creating a monochrome picture in my new manner: ‘The Refinement of Sensibility’.