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'Blue is the invisible becoming visible. Blue has no dimensions, it is beyond the dimensions of which other colours partake' —Yves Klein
In May 1960, following several years of refining his blue pigment, Klein registered his International Klein Blue (IKB) patent. In doing so, Klein aimed for a “Blue Revolution” – a new aesthetic vision in which he would transform the world around him with the application of his patented IKB paint. Through his artistic practice, Klein aspired to “take over the world” and “make it more beautiful.”
Statue of Aphrodite (Venus), Graeco-Roman, 3rd – 2nd BC, Graeco-Roman Museum, Alexandria, Egypt. Image: Heritage Image Partnership Ltd / Alamy Stock Photo. In La Vénus d'Alexandrie (Vénus bleue), Klein transforms the archetypal classical beauty – the Venus d’Alexandrie - into a twentieth century equivalent through the application of his ultramarine blue pigment. With harmonic and perfected proportions, classical sculptures like the Venus d’Alexandrie have been heralded as the epitome of feminine beauty for centuries. Just like the Venus’s form symbolises idealised and eternal beauty, Klein believed that the ethereal qualities of his blue paint captured the infinite. Klein’s Venus, cloaked in blue, now transcends time, space, and mortality.
Following Klein’s premature death in 1962, aged just 34, Klein’s widow Rotraut Klein-Moquay began working with Jan Runnqvist of Galerie Bonnier to bring some of his unrealised designs and concepts to life. Dedicated to upholding the integrity of Klein’s artistic vision, the artist’s estate worked tirelessly to replicate Klein’s techniques and desired mediums. Conceived as a multiple, La Vénus d'Alexandrie (Vénus bleue) helps disseminate Klein’s theories and messages around the world.
來源
紐約 Kent Fine Art 畫廊
文學
Jean-Paul Ledeur S41
Pierre Restany, Yves Klein, New York, 1982, p. 204
Yves Klein, exh. cat., Oslo, 1997, p. 79, no. 66
Nicolas Charlet, Yves Klein, Paris, 2000, p. 231
Yves Klein, La Vie, la vie elle-même qui est l'art absolu, exh. cat., Nice, 2000-2001, p. 183
Δ122
《亞歷山大的維納斯（藍色維納斯）》
1962/82年作
伊夫．克萊因藍色顏料 合成樹脂 石膏
27 x 12 x 9 英吋 (68.6 x 30.5 x 22.9 公分)
款識：簽名、237/300（下腿）
鈴印：237/300（底部）
共有50版樣本作，由日內瓦 Editions Galerie Bonnier 出版。
估價
£60,000 - 80,000 Ω♠
成交價£81,900
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111
法蘭西斯．培根
《人體研究（追隨在「人體研究」之後，1987年）(S. 8, T 30)》
估價 £10,000 - 15,000 ♠†
成交價 £18,900
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