Quote

As I lay stretched upon the beach of Nice, I began to feel hatred for birds which flew back and forth across my blue sky, cloudless sky, because they tried to bore holes in my greatest and most beautiful work.

Yves Klein

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Yves Klein
Age: 34 †
Born: 1928
Born: January 1
Died: 1962
Died: June 6
Artist
Conceptual Artist
Drawer
Judoka
Painter
Performance Artist
Photographer
Sculptor
Nice
France
Feel
Bird
Holes
Feels
Tried
Beach
Blue
Forth
Cloudless
Work
Greatest
Lays
Stretched
Nice
Began
Bore
Upon
Sky
Flew
Beautiful
Hatred
Bores
Back
Across
Birds

More quotes by Yves Klein

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Color is sensibility in material form, matter in its primordial state.
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To feel the soul without explaining it, without vocabulary, and to represent this sensation.
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Blue has no dimensions, it is beyond dimensions.
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Blue suggests the sea and sky, and they, after all, are in actual, visible nature what is most abstract.
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For me, each nuance of a color is in some way an individual, a being who is from the same race as the base color, but who definitely possesses a distinct character and personal soul.
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Color is enslaved by line, that becomes writing.
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The imagination is the vehicle of sensibility. Transported by the imagination, we attain life, life itself, which is absolute art.
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I did not like the nothing, and it is thus that I met the empty, the deep empty, the depth of the blue.
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My paintings are only the ashes of my art
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Judo has helped me to understand that pictorial space is above all the product of spiritual exercises. Judo is, in fact, the discovery by the human body of a spiritual space.
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I was trying to show colour, but I realized at the private view that the public were prisoners of a preconceived point of view and that, confronted with all these surfaces of different colours, they responded far more to the inter-relationship of the different propositions, they reconstituted the elements of a decorative polychromy.
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Color is sensitivity in material form, substance in its purest form.
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Every phenomenon manifests itself of its own accord. This manifestation is always distinct from form, and is the essence of the immediate, the trace of the immediate.
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I had proof that I had five senses, that I knew how to get myself to function! And then I lost my childhood.
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I want to take as the canvas for my next picture the entire surface of France.
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I am against the line and all its consequences: contours, forms, composition. All paintings of whatever sort, figurative or abstract, seem to me like prison windows in which the lines, precisely are the bars.
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Pure, existential space was regularly winking at me, each time in a more impressive manner, and this sensation of total freedom attracted me so powerfully that I painted some monochrome surfaces just to 'see,' to 'see' with my own eyes what existential sensibility granted me: absolute freedom!
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I made the flames lick the surface of the painting in such a way that is recorded the spontaneous traces of the fire. But what is it that provokes in me this pursuit of the impression of fire? Why must I search for its traces?
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I arrived on earth in 1928. Born into a milieu of painters, I acquired my taste for painting with my mother's milk.
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It was then that I remembered the colour blue, the blue of the sky in nice that was at the origin of my career as monochromist. I started work towards the end of 1956 and in 1957 I had an exhibition in Milan which consisted entirely of what I dared to call my 'Epoque bleue'.
Yves Klein