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拍品专文
L'IKB sublime les formes de ces 'empreintes' devenues les 'moulages' d'oeuvres d'art suspendues dans le temps, comme La Victoire de Samothrace et La Vénus d'Alexandrie. Cette carnation singulière absorbe le regard et la lumière par son velouté intemporel. Irradiant l'espace de sa lumineuse profondeur, le bleu immatériel accède à l'éternité revendiquée par l'artiste. Par l'appropriation de L'Esclave, oeuvre emblématique de Michel Ange, Yves Klein exprime son admiration pour l'uomo universale. Avec La Terre bleue, en précurseur de la vision holiste de la connaissance du monde, il déclare lui-même : 'En 1957, Klein déclare que la terre est bleue. Il crée à cette occasion un globe terrestre en Relief Bleu. 4 années plus tard, l'astronaute Gagarine déclare en avril 1961 que le globe terrestre est d'un bleu intense et profond.' (sic, cité in J.-P. Ledeur, Yves Klein, Catalogue raisonné des éditions et des sculptures, Knokke-Le-Zoute, 2000, p. 245). Éditées pour partie par la Galerie Bonnier dans les années 1980, les récentes épreuves de ces réalisations originales témoignent de l'ultime effort créatif de celui qui militait pour que soit reconnue la noblesse esthétique de la monochromie.
The IKB sublimates the contours of his 'prints' turned into 'castings' of artworks suspended in time, such as La Victoire de Samothrace and La Vénus d'Alexandrie. This specific shade absorbs the gaze and the light by its timeless velvety aspect. Irradiating space by a bright depth, the immaterial blue accesses the eternity claimed by the artist. By the appropriation of L'Esclave (The Slave), an emblematic work by Michel Ange, Yves Klein expresses his admiration for the uomo universal.
With La Terre Bleue ( The Blue Earth), as the precursor of the holistic vision of the knowledge of the world, he states himself : 'In 1957, Klein states that the earth is blue. He creates on this occasion a globe made of a Blue Relief. Four years later, the astronaut Gagarine states in April 1961 that the globe is made of an intensive and deep blue.' (sic, quoted in J.-P. Ledeur, Yves Klein, Catalogue raisonné des editions et des sculptures, Knokke-Le-Zoute, 2000, p.245). Partially edited by the Bonnier Gallery in the Eighties, these works testify to the ultimate creative effort, of that one who called for the recognition of the aesthetic nobility of the monochrome approach.
The IKB sublimates the contours of his 'prints' turned into 'castings' of artworks suspended in time, such as La Victoire de Samothrace and La Vénus d'Alexandrie. This specific shade absorbs the gaze and the light by its timeless velvety aspect. Irradiating space by a bright depth, the immaterial blue accesses the eternity claimed by the artist. By the appropriation of L'Esclave (The Slave), an emblematic work by Michel Ange, Yves Klein expresses his admiration for the uomo universal.
With La Terre Bleue ( The Blue Earth), as the precursor of the holistic vision of the knowledge of the world, he states himself : 'In 1957, Klein states that the earth is blue. He creates on this occasion a globe made of a Blue Relief. Four years later, the astronaut Gagarine states in April 1961 that the globe is made of an intensive and deep blue.' (sic, quoted in J.-P. Ledeur, Yves Klein, Catalogue raisonné des editions et des sculptures, Knokke-Le-Zoute, 2000, p.245). Partially edited by the Bonnier Gallery in the Eighties, these works testify to the ultimate creative effort, of that one who called for the recognition of the aesthetic nobility of the monochrome approach.