I'm a lifelong painter and I've just ordered Klein Blue from the company in the Montmartre district (Paris!) which originally created it with Klein. It's not cheap, but I have GOT to try it just once in my life. About the process - it's not a matter of dunking a roller into a bucket of paint and having fun. Raw, powdered pigment has to be mixed into a colourless synthetic medium created specifically for it. It takes time and patience, especially if you're going to cover a large area. Trust me on that. You also need to do tests to establish exactly how much pigment-to-medium ratio will get you the desired effect. If the paint goes wrong, you need to add a 95% alcohol mixture - not water - to thin and adjust it. It's the medium, not the pigment, which is the key to the colour - and only one shop manufactures the authentic, genuine thing. Anything else is just ultramarine paint. The more I look into how much effort Klein put into it, the more I'm impressed by his tenacity and desire to get exactly what he was after.
The resin is toxic. There is a warning against inhalation of the fumes. How did the models apply that to the body? If it is "real" YKB, those models were put in danger
@@friendsofvinny The original version was toxic and flammable. When Klein received the commission to create Art for Germany's Gelsenkirchen Theatre, he was told those qualities of IKB weren't permitted. He proceeded to create a nontoxic, nonflammable version of IKB. I assume that was the formula he coated his models with. At least one of his models was giving interviews in the 2020s. She doesn't mention any side effects of being "a living paintbrush" for Klein. Best wishes from Vermont ❄️💙❄️
I am not familiar in detail with the creative biography of Mr. Klein, but as the narration about “the things which happened” it was very interesting and the good impulse to start learning more about Yves Klein and his oeuvre, his life…
I can answer you! Raw, powdered pigment is what gets mixed into a medium or binder to create paint. The colour of pure, powdered pigment is incredibly intense. That intensity is lost when it's blended into whatever medium you use. That's just basic Artist physics. Klein wished there was a paint that maintained the pure, insanely rich look of the raw powdered pigment. Early in his career, he displayed horizontal frames filled with raw ultramarine powder. It looked amazing, but it had to be shown flat. You coudn't hang the powder on a wall. In the mid 1950s, he took his "problem" to a manufacturer of artists paints in Montmartre, Paris. Edouard Adam said the solution was to invent a medium that didn't dilute or otherwise affect the look and texture of the powdered pigment. That's like saying there's a got to be a way to add a gallon of water to a glass of Bordeaux without affecting the taste or look of it. Anyway, that's what Klein and Adam came up with. It's not the ultramarine pigment that makes Klein Blue work - it's what you mix it into.
Let's not forget he was influenced by the Gutai experiments coming out of Japan. However, he was not generous enough to help others make that connection. Eurocentric, provincial and anti-cosmopolitan--that is the Yves Klein that Christie's is presenting here. Why? $$$
I'm a lifelong painter and I've just ordered Klein Blue from the company in the Montmartre district (Paris!) which originally created it with Klein. It's not cheap, but I have GOT to try it just once in my life. About the process - it's not a matter of dunking a roller into a bucket of paint and having fun. Raw, powdered pigment has to be mixed into a colourless synthetic medium created specifically for it. It takes time and patience, especially if you're going to cover a large area. Trust me on that. You also need to do tests to establish exactly how much pigment-to-medium ratio will get you the desired effect. If the paint goes wrong, you need to add a 95% alcohol mixture - not water - to thin and adjust it.
It's the medium, not the pigment, which is the key to the colour - and only one shop manufactures the authentic, genuine thing. Anything else is just ultramarine paint.
The more I look into how much effort Klein put into it, the more I'm impressed by his tenacity and desire to get exactly what he was after.
The resin is toxic. There is a warning against inhalation of the fumes. How did the models apply that to the body? If it is "real" YKB, those models were put in danger
@@friendsofvinny The original version was toxic and flammable. When Klein received the commission to create Art for Germany's Gelsenkirchen Theatre, he was told those qualities of IKB weren't permitted. He proceeded to create a nontoxic, nonflammable version of IKB. I assume that was the formula he coated his models with. At least one of his models was giving interviews in the 2020s. She doesn't mention any side effects of being "a living paintbrush" for Klein.
Best wishes from Vermont ❄️💙❄️
@@TheStockwell and where can I get a link to the interview with the model?
That’s fascinating Thankyou
i became an artist since i felt his work.
SUHO artist same here!!
Really my city in Germany has an original painting from him
4:16 And that the place where he put it I was in the exact same room and it was a thousand times bigger in real live
Yves Klein's work is sublime in its purist form.😶
Vídeo incrível contando a respeito da trajetória artística do Yves Klein, adorei! A Arte Conceitual é mesmo de dar nós na cabeça.
I think Im in love
I am not familiar in detail with the creative biography of Mr. Klein, but as the narration about “the things which happened” it was very interesting and the good impulse to start learning more about Yves Klein and his oeuvre, his life…
Siempre presente su aleccionadora relación entre el arte y la vida.
He was great
I still dont understand how or why he came up with the blue stuff...?? :/
I can answer you! Raw, powdered pigment is what gets mixed into a medium or binder to create paint. The colour of pure, powdered pigment is incredibly intense. That intensity is lost when it's blended into whatever medium you use. That's just basic Artist physics. Klein wished there was a paint that maintained the pure, insanely rich look of the raw powdered pigment. Early in his career, he displayed horizontal frames filled with raw ultramarine powder. It looked amazing, but it had to be shown flat. You coudn't hang the powder on a wall.
In the mid 1950s, he took his "problem" to a manufacturer of artists paints in Montmartre, Paris. Edouard Adam said the solution was to invent a medium that didn't dilute or otherwise affect the look and texture of the powdered pigment. That's like saying there's a got to be a way to add a gallon of water to a glass of Bordeaux without affecting the taste or look of it.
Anyway, that's what Klein and Adam came up with. It's not the ultramarine pigment that makes Klein Blue work - it's what you mix it into.
@@TheStockwell very thorough answer. thanks!
Let's not forget he was influenced by the Gutai experiments coming out of Japan. However, he was not generous enough to help others make that connection. Eurocentric, provincial and anti-cosmopolitan--that is the Yves Klein that Christie's is presenting here. Why? $$$
Very good
Dax Springs
Ryan Locks
Thompson Trail
He was a handsome devil
3:38
Carmine Road
Porter Village
Arvel Vista
Cassandra Terrace
Money
I’m a huge fan of Yves Klein but I think this video doesn’t describe his art very well. It’s more like a poor biography.
241 Ratke Points
Sad how shallow those geniuses are.
You are thoroughly right. The world is full with shallow human beings who groundlessly are deemed to be worthy.
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