“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

In 1957; p. 31
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"

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Yves Klein 33

French artist 1928–1962

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“I had left the visible, physical blue at the door, outside, in the street. The real blue was inside, the blue of the profundity of space, the blue of my kingdom, of our kingdom!... the immaterialisation of blue, the coloured space that can not be seen but which we impregnate ourselves with... A space of blue sensibility within the frame of the white walls of the gallery.”

Yves Klein (1928–1962) French artist

In 1958; p. 41
before 1960, "Yves Klein, 1928 – 1962, Selected Writings"

“I spend a lot of my time looking at blue,
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“At the Galerie Colette Allendy I exhibited some twenty monochrome surfaces, all in different colours: greens, reds, yellows, purples, blues, oranges.... and so found myself at the start of my career in this style... 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.”

Yves Klein (1928–1962) French artist

In 1956; p. 30
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“In 1956 I was granted the biggest reward of my career: my wife, Josée Jongen.”

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“My son Robert, the scientist, told me at dinner that blue is not blue. That what we call blue is actually something that absorbs all other energy frequencies and rejects blue. Our eyes see the frequencies cast off as blue and we call it blue. I wondered, are we defined by the things we are, or the things we reject?”

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“At first I intended to carry on working in Saint-Prex [in Switzerland, circa 1914 – 1915] in the same way I had been working in Munich [the location of his Blaue Reiter / Blue Rider period]. But something inside me prevented me from painting colourful, sensuous pictures. Suffering had changed my soul, telling me to find other forms and colours to express what was on my mind.”

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“I never saw a man who looked
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“So, Beav, tell me about yourself."
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“My colour has no symbolic function whatever. I don't want any colour to be noticeable. I want the colour to be the colour of life, so that you would notice it as being irregular if it changed. I don't want it to operate in the modernist sense as colour, something independent. I don't want people to say, "Oh, what was that red or that blue picture of yours, I've forgotten what it was."”

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“So, probably.... when I started painting the pelvis bones I was most interested in the holes in the bones — what I saw through them - particularly the blue from holding them up in the sun against the sky as one is apt to do when one seems to have more sky than earth in one's world.... they were most beautiful against the Blue — that Blue that will always be there as it is now after all man's destruction is finished.”

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1930 - 1950

“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.”

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Yves Klein 33

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