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Yves KleinYves Klein Dying Slave After Michelangelo IKB Sculpture Bright Klein Blue1992
1992
About the Item
Yves Klein, Dying Slave after Michelangelo
IKB blue resin in plexiglas, signed Rotraut Klein Moquay and numbered 224/300 on the base on a label.
300 editions numbered from “1/300” to “300/300″
50 editions numbered from”HCI/L” à “HC L/L”
Conceived in 1962, this work has been executed in 1992.
Height : 23 1/5 in. With the plexiglas : 26.38 x 12.6 x 9.84 in.
Bibliography:
– Yves Klein, Catalogue des Editions et des sculptures
éditées, Jean-Paul Ledeur, Editions Guy Pieters, 1999,
artwork reproduced under number S20 page 248.
– Yves Klein, Paul Wember, Verlay M. Dumont, Cologne 1969, artwork reproduced page 98.
Note: Michelangelo sculpted this work between 1513 and 1515 for the tomb of Pope Julius II. This pathetic and magnificent figure affected Yves Klein and through acquiring antic or museum masterpieces it became the artist’s last creation.
- Creator:Yves Klein (1928 - 1962, French)
- Creation Year:1992
- Dimensions:Height: 26.38 in (67 cm)Width: 12.6 in (32 cm)Depth: 9.85 in (25 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU1569213331822
Yves Klein
French artist 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 monochrome paintings (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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