Yves Klein first discovered the visual power of monochrome a few years earlier, when he realized that he could carry the intoxicating effect of color (which enchanted Vincent van Gogh and the fauves) to a new extreme, avoiding putting more than one color on the surface of the image. As the artist explained: “When there are two colors in a painting, there is a fight; The viewer can extract refined pleasure from the permanent spectacle of this fight between two colors in the psychological and emotional realm and perhaps extract refined pleasure, but is no less morbid from the purely philosophical and human point of view ”(Y). . Klein, in K. Ottmann (ed.), Surpassing the problem of art: the writings of Yves Klein, Putnam 2007, p. 140).
Klein's interest in the physical and psychological properties of blue began when he was only nineteen years old and he and his friends Armand Fernandez (who later became known as Arman) and Claude Pascal were lying on a beach in southern France looking at the sky. With youthful bravery, they decided to divide the universe with each other, just as the Greek gods Zeus, Poseidon and Hades had done. "Arman ... assumed the command of the animal kingdom ... Claude gathered for himself the safety of all plants. And Yves ... defined his kingdom, the mineral, as the blue void of the distant sky ”(T. Mcevilley,“ Yves Klein: Conqueror of the Void ”, in Yves Klein, 1928-1962, Ex. Cat., Institute for The Arts, Rice University, Houston, 1982, p. 28).
Klein's monochromers were the artist's purest response to what he believed was a mystical place that existed beyond the conventional notions of time and space - which Klein called the "zone of immateriality." The mysterious and textural extension of the pure radiant color provides a highly physical manifestation of the inherent dialogue that Klein expected to induce between the viewer's sensitivity and the vast monochrome extension of intense but immaterial color that emanates from the surface of the work. “Painting is just the witness,” he wrote, “the sensitive plate who saw what happened. The color, in the chemical form in which all painters use it, is the most appropriate means to the event. That's why I say: “My paintings represent poetic events, or rather, they are still, silent, op. cit., Page. 29).
Klein's ultimate goal was to create an engaging experience for the viewer. “I try to put the viewer in the face of the fact that color is an individual,” said Klein, “a character, a personality. I request a receptivity from the observer placed in the face of my work. This allows you to consider everything that effectively involves monochrome painting. Thus it can be impregnated with color and the color impregnates it. So perhaps he can enter a world of color ”(Y. Klein quoted in S. Stich, Yves Klein, eg Cat., Hayward Gallery, London, 1994 p. 66).
Yves Klein wanted hismonochrome induce a sense of pure and primordial freedom to the viewer. The feelings caused by the experience of Klein's blue intensity do not, therefore, intend to be a substitute for a religious or human experience, but intend to free us from our bodily existence and leave a space for the viewer to incorporate painting, as we were involved by ocean or a wide length of blue sky.
Klein declared the blue sky as his first work of art and from there he continued to find new extreme ways to represent infinity and immaterial in his works. One of the strategies was monochrome abstraction - the use of a color over an entire screen. Klein saw monochrome painting as an "open window for freedom, such as the possibility of immersed in the immeasurable existence of color." Although it has used a variety of colors, the most iconic works usually have the International Klein Blue, a pure overseas tone that Klein claimed to have invented and recorded. Yves Klein used materials such as water, fire and air to build his works and staged a "leap in the void" for a self -published newspaper.
Blue Monochrome is one of a stunning variety of innovations that Klein used to cultivate a new aesthetic consciousness and free the color from shape boundaries. International Klein Blue is formed from a chemical: pure color powder in a light and virtually invisible resin solution that grants individual grains an unprecedented autonomy rather than oil -connected pigment, which had a clutch effect that the artist feared. By applying evenly with a roller, the deep tone suggests a potentially infinite visual expansion. However, the thoroughly textured matte surface also exerts a powerful attraction in itself.
Yves Klein realized that art was evolving to the immaterial, progressively abandoning physical objects in favor of impalpable effects and prowess of ideation. Monochrome abstraction - the use of a color on an entire screen - has been a strategy adopted by many painters who want to challenge expectations of what an image can and should represent. Klein adopted this tone as a means of evoking the immateriality and infinity of his own utopian view of the world, comparing monochrome painting to an "open window for freedom."