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Yves Klein, ‘Vénus Bleue (S 41)’, 1962-1982, Rago/Wright
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Yves Klein

Vénus Bleue (S 41), 1962-1982

Geneva Dry pigment and synthetic resin on plaster
27 in
68.6 cm
Edition 209/300
This is part of a limited edition set.
Bidding closed
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About the work
Bibliography
Provenance
RW
Rago/Wright

27" high
Accompanied by numbered certificate.
Publisher: Editions Galerie Bonnier, Geneva

Medium
Mixed Media
Signature
Numbered 209/300 at the back of the sculpture and with the artist's star in relief
Yves Klein
French, 1928–1962
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Yves Klein is best known for his trademark ultramarine pigment, which he patented as International Klein Blue in 1961. “Blue…is beyond dimensions, whereas the other colors are not,” he said. “All colors arouse specific ideas, while blue suggests at most the sea and the sky; and they, after all, are in actual, visible nature what is most abstract.” Starting in the mid-1950s, Klein made retinal blue monochromes (which would prove cornerstones of Minimalism) and the pigment would also feature prominently in his Anthropometry paintings, for which Klein smeared nude women with blue pigment and used them as human brushes on canvas, sometimes in elaborate public performances. Klein's work anticipated Conceptual art, Performance art, and environmental art, as in his selling of portions of empty space to collectors. For The Void (1958), he presented an empty gallery as an artwork, wearing a white tie and tails to show visitors around the blank walls.

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Yves Klein, ‘Vénus Bleue (S 41)’, 1962-1982, Rago/Wright
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Save
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Share
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About the work
Bibliography
Provenance
RW
Rago/Wright

27" high
Accompanied by numbered certificate.
Publisher: Editions Galerie Bonnier, Geneva
Posthumous edition of 353 copies edited in 1982 by the Gallery Bonnier

Medium
Mixed Media
Signature
Numbered 209/300 at the back of the sculpture and with the artist's star in relief
Yves Klein
French, 1928–1962
Follow

Yves Klein is best known for his trademark ultramarine pigment, which he patented as International Klein Blue in 1961. “Blue…is beyond dimensions, whereas the other colors are not,” he said. “All colors arouse specific ideas, while blue suggests at most the sea and the sky; and they, after all, are in actual, visible nature what is most abstract.” Starting in the mid-1950s, Klein made retinal blue monochromes (which would prove cornerstones of Minimalism) and the pigment would also feature prominently in his Anthropometry paintings, for which Klein smeared nude women with blue pigment and used them as human brushes on canvas, sometimes in elaborate public performances. Klein's work anticipated Conceptual art, Performance art, and environmental art, as in his selling of portions of empty space to collectors. For The Void (1958), he presented an empty gallery as an artwork, wearing a white tie and tails to show visitors around the blank walls.

Yves Klein

Vénus Bleue (S 41), 1962-1982

Geneva Dry pigment and synthetic resin on plaster
27 in
68.6 cm
Edition 209/300
This is part of a limited edition set.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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