The spiritual and the infinite Blue

Yves Klein (1928–1962), born in Nice, France, was a groundbreaking artist who radically redefined the boundaries of art. His work laid the foundations for what is now recognised as conceptual art, minimalism, and performance art. Klein's oeuvre is marked by his obsession with colour, emptiness, and the immaterial. He did not merely create artworks but also profound experiences, questioning the very nature of art itself. Although he died at a young age, his influence remains significant in the contemporary art world.

Source: Kunsthuizen

The Colour Blue and the Immaterial

One of Klein’s most iconic contributions was his invention of "International Klein Blue" (IKB), a rich, deep ultramarine blue which he patented. To Klein, colour was not a superficial element but an essential concept that he viewed as a bridge to the spiritual and the infinite. His monochrome works, composed of canvases completely covered in IKB, were intended to immerse the viewer in a sensory experience that transcended the physical world. Blue, according to Klein, represented the invisible and the transcendental.

With these monochromes, he sought to approach the immaterial, a concept central to his work. Klein aimed for viewers to undergo an experience of emptiness and infinity. He often referred to these works as "voids" or "zones of invisible power," using colour as a medium to connect viewers to something intangible. The concept of the immaterial became the primary theme in his work and drove him towards ever more abstract forms of expression.

Le Vide: Nothingness as Artwork

In 1958, Klein created one of his most famous works, the exhibition "Le Vide" (The Void) at Galerie Iris Clert in Paris. For this exhibition, he removed all objects from the gallery, leaving literally nothing in the space except for some white-painted walls. Nevertheless, visitors were invited to enter the room and experience the "empty" exhibition. This intentional void offered viewers a chance to engage with art in a new way, devoid of visual elements, prompting an introspective experience independent of the physical.

With "Le Vide," Klein elevated emptiness to a full-fledged subject of art, taking a bold step towards conceptual art. He questioned whether art truly requires objects or if it is a matter of perception and intention. The work became a manifesto of his belief in the invisible energies he felt were present in the universe and within individuals.

Body as Performance and the Anthropometries

In his later work, Klein began to see the body as an artistic medium. He developed the "Anthropometries," a series of works in which models were coated in IKB and used their bodies to print impressions on large canvases. These models – whom he called "living brushes" – directly applied the paint by pressing their bodies against the canvas. The performances themselves were often conducted in a formal setting with orchestral accompaniment, giving the entire process a ritualistic, almost sacred atmosphere.

These works blurred the line between painting and performance art. The body became the instrument of art, and the act of creation was as significant as the final artwork. The "Anthropometries" can be considered an early form of performance art, where the action and the body of the artist or model became an integral part of the artwork itself.

Leap into the Void: Photographic Performances

Another legendary work by Klein is the photographic performance "Leap into the Void" (1960). In this iconic image, Klein appears to be floating in mid-air after jumping from a wall onto a Parisian street. Though the photo was manipulated using multiple negatives, this "leap into the void" is seen as a powerful metaphor for his artistic vision: a complete surrender to the unknown and the immaterial. This act, though brief and ephemeral, symbolised his pursuit of artistic freedom and his belief in the power of the immaterial.

A Legacy of Conceptual Art and Minimalism

Yves Klein’s work was a crucial precursor to conceptual art, as he reduced art to its most essential concepts. Instead of objects or images, he presented ideas, experiences, and emotions as artworks. His use of emptiness and colour without form set the stage for minimalism, where the focus is on removing all but the essential. In his performances and use of the body, he anticipated later forms of performance art and body art, where the body itself became the art object.

His work also held a spiritual dimension, adding layers of depth to its conceptual aspects. Klein saw his art as a way to connect with the invisible and hoped for his viewers to experience the same sense of transcendence. This philosophical approach has inspired and influenced many artists after him, from minimalists like Donald Judd to conceptual artists such as Joseph Kosuth.

Klein’s Enduring Influence

Although Yves Klein was only 34 years old when he died, he left behind a legacy that still resonates today. His pioneering ideas about emptiness, the immaterial, and the role of the body in art have left an indelible mark on contemporary art. Through his work, Klein demonstrated that art does not necessarily consist of materials or forms, but can exist within experience, ideas, and the empty space between artist and audience. His radical experiments continue to inspire and raise questions still relevant in the art world: What is art? And what remains when you remove everything except the idea?

Yves Klein’s life’s work, from his monochrome blue paintings to his empty spaces and performative works, was nothing less than a quest for the essence of art and human experience, making him an essential pioneer in art history.