International Klein Blue 

His reflection on blue began early on when he decided one day to paint the immensity of the cloudless blue sky. However, he struggled to obtain the vibrancy he wanted.
In 1956, he approached a Parisian color dealer, Edouard Adam, and a chemist from the Rhône-Poulenc group. Together they found a way to maintain the powdery and luminous aspect of the original color pigment by using a new fixative, Rhodopas. This marked the beginning of the blue era, when the artist devoted himself to converting the sky into monochromes. 

The wallpapers printed in panoramic format perfectly transcribe the flat areas of color and the drips of the anthropometries. The carpets explore the idea of the sensitivity become matter, dear to the artist. 

Anthropometries

In these works, the model becomes a brush. Coated with paint, he impregnates his flesh with grace and strength on the canvas, leaving his imprint. Yves Klein gave precise indications to the "living brushes". Public performances are preceded by rehearsals in the studio. As an experienced judoka, the artist emphasized the formal analogy between the movements of the models on the paper and those of the judoka practicing Katas and Randoris on the tatami.

It is also a gesture of collection by which the artist takes a part of nature. The body is thus used to signify its presence in the world, as did the artists of the Paleolithic. The female body is thus glorified by the rite of the imprint, in the spirit of a revived mythology.

Paintings of fire

The Fire Paintings make visible the invisible by the imprint, the mark, the trace.
In a demiurge gesture, in the image of Prometheus, the artist unites water and fire. While the fluid flame is applied to the cardboard, a person projects water which strikes it. The contact between the two elements fixes the traces of the flows and splashes on the support. Sometimes the water is sprayed or coated with a previously wet body.