Yves Klein
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| Yves Klein | |
|---|---|
| Nacimiento: | 28 de abril de 1928 Niza, Francia |
| Fallecimiento: | 6 de junio de 1962 París, Francia |
Yves Klein (28 de abril de 1928 - 6 de junio de 1962) fue un artista francés considerado como una importante figura dentro del movimiento neo-Dadaísmo.
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[editar] Biografía
Klein nació en Niza. Sus padres, Fred Klein y Marie Raymond, también fueron pintores. De 1942 a 1946 Klein estudió en la Escuela Nacional de la Marina Mercante, y en la Escuela Nacional de Lenguas Orientales, y practicó el judo. Es esa época, comenzo su amistad con Arman Fernandez y Claude Pascal, y comenzó a pintar. Klein compuso su primera Sinfonía monótona en 1947. Entre los años 1948 y 1952, viajó a Italia, Gran Bretaña, España y Japón. En 1955 fijó su residencia permanente en París, donde le dedicaron una exposición individual en el Club des Solitaires. Sus pinturas monocromáticas fueron objeto de exposiciones en la Galería Cloette Allendy y la Galería Iris Clert, en París, en 1946. Klein murió en París de un ataque al corazón poco antes del nacimiento de su hijo.
[editar] Obras
[editar] Monocromos
La mayoría de sus primeros trabajos eran pinturas monocromáticas en una amplia variedad de colores. A finales de los años 50, los monocromos de Klein se centraban en un color azul intenso, que patentó como el International Klein Blue o Azul Klein Internacional (IKB, =PB29, =CI 77007) , auqnue ese color nunca se llegó a comercializar.
As well as conventionally made paintings, in a number of works Klein had naked female models covered in blue paint dragged across or laid upon canvases to make the image, using the models as "living brushes". This type of work he called Anthropometry. Other paintings in this method of production include "recordings" of rain that Klein made by driving around in the rain at 70 miles per hour with a canvas tied to the roof of his car, and canvases with patterns of soot created by scorching the canvas with gas burners.
Klein and Arman were continually involved with each other creatively, both as Nouveau Realistes and as friends. Both from Nice, the two worked together for many decades and Arman even named one of his children after Yves Klein. Sometimes the creation of these paintings was turned into a kind of performance art - an event in 1960, for example, had an audience dressed in formal evening wear watching the models go about their task while an instrumental ensemble played Klein's 1949 The Monotone Symphony, which consisted of a single sustained chord.[1][2]
[editar] Urbanismo, Arquitectura e Interiorismo
[editar] Escultura
[editar] Trabajos inmateriales
Plantilla:Cquote
In another act that became known as an Yves Klein artwork, he offered and managed to sell empty spaces in the city in exchange for gold. He wanted his buyers to experience The Void by selling them empty space. In his view this experience could only be paid for in the purest material: gold. In order to restore the "natural order" that he had unbalanced by selling the empty space (that was now not "empty" anymore), Klein threw the gold into the river Seine.
[editar] Aero trabajos
Klein is also well known for a photograph, Saut dans le vide (Leap into the Void) [3] , which apparently shows him jumping off a wall, arms outstretched, towards the pavement. Klein used the photograph as evidence of his oft-mentioned unaided lunar travel. In fact, "Saut dans le vide" was published as part of a broadside on the part of Klein (the "artist of space") denouncing NASA's own lunar expeditions as hubris and folly.
Klein's work revolved around a Zen-influenced concept he came to describe as "le Vide" or in English: the Void. Klein's Void is a nirvana-like state that is void of worldly influences; a neutral zone where one is inspired to pay attention to ones own sensibilities, and to "reality" as opposed to "representation". Klein presented his work in forms that were recognized as art - paintings, a book, a musical composition - but then would take away the expected content of that form (paintings without pictures, a book without words, a musical composition without in fact composition) leaving only a shell, as it were. In this way he tried to create for the audience his "Zones of Immaterial Pictorial Sensibility". Instead of representing objects in a subjective, artistic way, Klein wanted his subjects to be represented by their imprint: the image of their absence. Klein's work strongly refers to a theoretical/arthistorical context as well as to philosophy/metaphysics and with his work he aimed to combine these. He tried to make his audience experience a state where an idea could simultaneously be "felt" as well as "understood".
[editar] Citas
- "¡Larga vida a lo inmaterial!"
- "El azul es lo invisible tornándose visible"
- "El pintor sólo tiene que crear una obra maestra: él mismo, constantemente"
[editar] Véase además
- International Klein Blue
[editar] Referencias
- ↑ Stich, Sidra. Yves Klein. Hayward Gallery. London, 1994.
