Klein was born in Nice, he and friends in the south of France lay on a beach and partitioned the globe between themselves. His famous figurative representation of the sky enhanced his art from then onwards. “le Vide”  (the Void) is a Zen inclined concept in Yves Klein’s work. Void as described by Klein is a nirvana-like status without world  manipulation, as a neutral zone one is inspired to pay attention to reality and  his own sensibilities as opposed to representation. His work was in form of paintings, a book, and a musical composition.
He would take away the probable content of the painting, book, and musical composition leaving it void, “only a shell” Klein wanted his subjects  represented by the image of their absence, he attempted to craft for the audience his “zones of immaterial pictorial sensibility” rather than using an artistic or subjective way to signify objects. He merged a theoretical, philosophical context in his work, created in his audience a state where an idea could be “felt” and” understood”.  The picture of humans flying  out of the WTC is the use of dramatic image to convince spectators and inclusion of photography in the imagination of society, it is an example of how imagination or image can pollute art history. A photo of one of Klein’s art works is a symbol that is displayed as such, the position of its price of exhibition exceeds its value of cult. Its value of cult means the extinction of death, it is clear the picture shows a man about to smack into the roadway, a man that has jumped into the void, the act is artistic, and stationary.
Which means it does not imply the future or past, it is the present in a clean state. The window and the roadway exist as spatial indications that help place the photographed subject as an account and symbol.
His book the Artist`s book Yves;  peintures.  Comprises powerful monochromes association with cities he resided in. Viewers of his art linked all his paintings together as a sort of mosaic, which made Klein dissatisfied, he realized his audience misunderstood his art, that the even colored canvases created a new kind of bright abstract interior adornment, and then onwards he concentrated on one primary single color: blue. Klein’s work with color led him to search deeply with the help of his audience for the realization of matter. He wanted to show his paintings in a positive and clear mode.

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Yves tried various ways of applying paint, which led to a number of works he made using unclothed female models in blue paint laid upon canvases, making the image of the models as living brushes, that art was Anthropometry. while the monotone was done to the three nude models they were covered with blue paint, the models were used as  paint brushes, kleins motivation was  based on removing the hand of the artist .Recordings of rain made by Klein and patterns of soot made by burning the canvas with gas burners are also paintings in this method of production.
In (Zones of immaterial pictorial sensibility) presentation piece, Klein gave vacant spaces in the city, and replaced them with gold; the experience to him was worth gold and gave a certificate of tenure to the purchaser. The second part was performed with an art critic present, if the purchaser accepted to burn the certificate. Half of the gold was thrown into the river to re-establish natural order lost by unbalancing the selling of the blank space; the other half of the Gold then created Gold-leafed works.  Pink monochromes supplemented his blue monochromes towards the end of his life.  Yves Klein’s  monochromes, comprised of color blue as the dominant color, the color creates a model of trinity (union of many as one), trinity of  rose, gold, and blue which represents the cosmic philosophy of order and harmony, (stich,194).
He formed a message of cosmic sort of faith,  an artist named Rauschenberg influenced Klein work, Rauschenberg  gold paintings  manipulated  Klein’s search of color field , Yves  Klein’s art of gold  combined with blue and pink, shows a channel between the immaterial world and the temporal material world. Klein’s monopinks stand for the sharp blue and the infinite and immaterial gold that exceeds Mondrian’s primary color harmony. pink represents the virtue of caritas which is charity conveyed through love known in the expressions of  Christians as the holy spirit, Klein monopinks stand for divine love in a trinity of color, represented by gold as the ineffable infinite (God as faith) and blue, external harmony and hope.
Yves Klein’s fascination with the trinity is contextualized, by the splendid pursues of the Rosicrucian order, the Rosicrucian’s term trinity of fire, and is (faith, hope, and charity).
Which are the three theoretical virtues of Christianity, implied in the three parts of the Christian Godhead.  And pink,  blue, and gold in Klein’s art stand for charity, hope, and faith,  for Yves as for the Rosicrucian’s the reason to survive on earth was to make every effort for the re-union of form and life which is to seek for godliness despite the constrains of humanity.  The monopinks personify the third virtue of godliness: love, Rose or crimson is the best color to express the compassion of godly charity; its vividness is undeniable and permeates the viewers space unlike red, which is violent, the observer is enclosed in the color expression of divine grace.
Yves Klein carries the grace of the divine to his audience; he infused in his life and art a wonder that goes beyond his ego. Klein’s monopinks signify the enormous embrace, of love inherent in faith and hope and freedom embodied in this hopefulness.
In an age of post war cynicism and  disintegration signified by nihilism of the existing philosophers, his restoration of the Trinitarian and the unity that they symbolize dispels the lack of enthusiasm and stasis of post world war II in  Europe. Klein requested for divine grace in transmitting beauty as a manifestation of Gods grace to a world-weary audience. The immaterial he sought to show via his monochromes and display of the void offers the blend of our material reality with the divine, he uses his art to ratify form and life.

Use of monochromes

In the artist’s book “Dimanche”. Yves Klein is also known for photomontage”, jumping off a wall, arms stretched out toward the roadway, the picture was used to show his ability to embark on unaided lunar travel as an artist of space. Yves all through his profession created pieces of work that distorted the boundaries between sculpture and painting.
The function of his monochromes is to get together the diffused energy that is active in our senses and fix it in a certain space by the use of color. Unlike the normal decorative function of monochromes, his monochromes sought to direct the viewer’s attention through their fullness and intensity, in the lead to the transcendent and overwhelming unity beyond our material being. Yves Klein’s philosophy brought out by his monochromes is the contrast and maybe response to worldly or material focus of the existentialists.
Yves  Klein  hoped in the future that humans would be able to finish the transcendence of body while alive, that people would run away from the materiality of life and natural limitations using: out of body experiences, telegraphy and levitation. His notion was that this rebellion of physicality was the answer to a new Eden, and its indication:  art, religion, and the union of science. He shaped himself as a prophet, in reality, his art bears a message of hope for unity outside death, cynicism, and destruction in the world, Yves Klein philosophy on art rotated around removing lines that separate humanity, to Klein lines partition, and hinder pure space of cosmic emotional response. Yves Klein is able to select his distinct ultra marine blue as the peak of harmony and transcendence, he inspired. In addition, he depicts the blue color in terms of union beyond all worlds, perpetuity, and revelation. This urge towards fusion in his art provided the drive for Klein to integrate the fundamentals of human body and nature in his work.
Contact with the medium within the context of representing love a fascinating dialectic between the secular and the sacred is found, this engage in recreation between the physicality of Klein’s work and subjection of senses with brilliant colors becomes the ascent to take part in the divine. Physical familiarity of Klein’s work converts one to utopian philosophy, in his art a euphoric is seen, though simplistic, a need for prayer for unity through hope and love to the world is essential.

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