French artist Yves Klein created a series of works he called Anthropometry using what as paint brushes?
"shoe size directly (e.g. the Brannock Device) or to determine the detailed dimensions of the foot for custom manufacture (e.g. ALINEr). In art Yves Klein termed his performance paintings anthropometries, where he covered nude women with paint and used their bodies as paintbrushes. Anthropometry Anthropometry (from Greek ""anthropos"", ""human"", and ""metron"", ""measure"") refers to the measurement of the human individual. An early tool of physical anthropology, it has been used for identification, for the purposes of understanding human physical variation, in paleoanthropology and in various attempts to correlate physical with racial and psychological traits. Anthropometry involves the systematic measurement of"
"for instance those by PETA against Burberry. Body painting led to a minor alternative art movement in the 1950s and 1960s, which involved covering a model in paint and then having the model touch or roll on a canvas or other medium to transfer the paint. French artist Yves Klein is perhaps the most famous for this, with his series of paintings ""Anthropometries"". The effect produced by this technique creates an image-transfer from the model's body to the medium. This includes all the curves of the model's body (typically female) being reflected in the outline of the image. This technique"
"had used to paint IKB canvases, mounted on steel rods and set in rocks that he'd found in his parents' garden. Despite the IKB paintings being uniformly coloured, Klein experimented with various methods of applying the paint; firstly different rollers and then later sponges, created a series of varied surfaces. This experimentalism would lead to a number of works Klein made using naked female models covered in blue paint and dragged across or laid upon canvases to make the image, using the models as ""living brushes"". This type of work he called ""Anthropometry"". Other paintings in this method of production"
"Yves Peintures Yves Peintures (Eng: ""Yves Paintings"") is an artist's book by the French artist Yves Klein, originally published in Madrid, 18 November 1954. This publication was Klein’s first public gesture as an artist, featuring pages of 'commercially printed papers ' that were seemingly reproductions of paintings that, in fact, didn't exist. Using a practice started by Marcel Duchamp, this use of readymade objects to represent nothing but themselves has been referred to as an early example of Postmodernism, using a series of carefully executed strategies to undermine its own authority, and as a precursor to conceptual art. 'The simplicity"
"practice, a key to reaching the ‘infinite’ and ‘sublime’ through pure colour. ""Yves Klein at Blenheim Palace"" featured a large-scale blue pigment installation and a number of Klein’s ""Monochrome Paintings"", the dazzling uninterrupted colour punctuating and transforming the visitor’s experience of the opulent baroque surroundings of The Great Hall and principal rooms. A painting from his groundbreaking ""Anthropometry"" series was also on display, for which Klein employed models as ‘living brushes’ to create marks on the canvas in front of an audience, as well as one of his late ""Fire Paintings"" and works in gold. Klein blended traditional artistic mediums"
"I laid it down on the table. At the very first few pages the abstractionists’ eyes began to change. Their eyes lit up and in the depths, pure, beautiful single colors appeared.' Paris newspaper, dated January 13, 1955 Yves Peintures Yves Peintures (Eng: ""Yves Paintings"") is an artist's book by the French artist Yves Klein, originally published in Madrid, 18 November 1954. This publication was Klein’s first public gesture as an artist, featuring pages of 'commercially printed papers ' that were seemingly reproductions of paintings that, in fact, didn't exist. Using a practice started by Marcel Duchamp, this use of"
"art). Klein embarked on a series of monochromatic works using IKB as the central theme. These included performance art where Klein painted models' naked bodies and had them walk, roll and sprawl upon blank canvases as well as more conventional single-color canvases. Six sculptures by Klein in the Musiktheater im Revier, Gelsenkirchen, Germany, are executed in IKB. International Klein Blue International Klein Blue (IKB) is a deep blue hue first mixed by the French artist Yves Klein. IKB's visual impact comes from its heavy reliance on ultramarine, as well as Klein's often thick and textured application of paint to canvas."
"haunting high modernism, or as a symbol of it, appearing during times of aesthetic and sociopolitical upheavals. In France between 1947 and 1948, Yves Klein conceived his ""Monotone Symphony"" (1949, formally ""The Monotone-Silence Symphony"") that consisted of a single 20-minute sustained chord followed by a 20-minute silence – a precedent to both La Monte Young's drone music and John Cage's ""4′33″"". Although Klein had painted monochromes as early as 1949, and held the first private exhibition of this work in 1950, his first public showing was the publication of the Artist's book """" in November 1954. Artist and critic Thomas"
"would be their last collaboration. His next exhibition, the notorious ""Anthropométries de l'epoque bleue"", March 1960, (featuring models covered in blue paint pressing themselves on to canvases in front of an invited audience of notables) would be held in the considerably more upmarket Galerie Internationale d'Art Contemporain, on the Rive Droite. The book took the form of a parody of a banker's chequebook. Klein printed eight books of these receipts of which five survive- apart from the first book (which contained 31 unnumbered checks for an unspecified amount of gold), each book contains 10 numbered receipts for a set value"
"layers. From the mid-1980s, Richter began to use a homemade squeegee to rub and scrape the paint that he had applied in large bands across his canvases. In an interview with Benjamin H.D. Buchloch in 1986, Richter was asked about his ""Monochrome Grey Pictures and Abstract Pictures"" and their connection with the artists Yves Klein and Ellsworth Kelly. The following are Richter's answers: The Grey Pictures were done at a time when there were monochrome paintings everywhere. I painted them nonetheless. ... Not Kelly, but Bob Ryman, Brice Marden, Alan Charlton, Yves Klein and many others. In the 1990s the"
"gallery, located in New York City, in 2014. This art exhibition was to showcase similarities between two very different men: Yves Klein, the French Nouveau Réaliste, and the American George Washington Carver, who was born a slave but went on to become a renowned agricultural chemist, inventor and educator, he also became a musician, painter and creator of dyes and pigments. This exhibition shows how Adkins's extensive historical research revealed loose connections related to botany, music and the nautical, but more importantly his linking of the two men resulted in some arresting works that sparked a satisfy-ing frisson (Ruble, 2014:"
"Larry Gagosian Gallery. This painting's progress was visible to people passing by for a month in West Hollywood. Also in 1985 Bidlo recreated Yves Klein's, “Anthropometries de l’epoch blue” where he wore a tuxedo and white gloves as Klein had done, directing naked women to make prints with their bodies on large sheets of paper using ultramarine blue paint. There were four evenings where this was enacted. The first took place in New York at the Palladium club in 1985, in 1986 it took place at the Moderna Museet in Sweden, in 1988 in Tokyo at the Seibu Gallery and"
"he named ""an art for the Space Age"" (Concetto spaziale (50-B.1), 1950, MNAM, Paris). Although Klein had painted monochromes as early as 1949, and held the first private exhibition of this work in 1950, his first public showing was the publication of the Artist's book in November 1954. Parodying a traditional catalogue, the book featured a series of intense monochromes linked to various cities he had lived in during the previous years. ""Yves: Peintures"" anticipated his first two shows of oil paintings, at the Club des Solitaires, Paris, October 1955 and ""Yves: Proposition monochromes"" at Gallery Colette Allendy, February 1956."
"brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. Analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by ""Violin and Candlestick, Paris,"" from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practiced by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and several other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. The notion of modern art"
"performed at the Perpetual Fluxus Festival in New York in July 1965. In the performance, Kubota assumed a crouching position over a sheet of paper on the floor with a brush affixed to the crotch of her underwear and painted abstract lines in blood red paint. The work is often cited as a female rejoinder to Jackson Pollock's action or drip paintings and to Yves Klein's use of the female body as a painting tool in his ""Anthropometrics of the Blue Period"" (1960) in which female models covered in blue paint imprinted their bodies in white paper on a floor."
"implemented scenographically in four so-called ""elementary spaces"": four cubic, monomaterially formed spaces that were meant to arouse the senses by way of light, sounds, artistic ciphers, and smells. Craftsmen in German-speaking countries have driven nails into certain wooden shapes for luck for centuries, as in the case of the Stock im Eisen in Vienna. This art was used as a fund-raising tool during the First World War, when the craft was adapted as a means of gathering donations for war-time charities, in the form of Nail Men. For a fee, a single nail could be partially driven into the figure."
"painted women, reminiscent of African tribal masks and his own new proto-Cubist inventions. Analytic cubism, exemplified by ""Violin and Candlestick, Paris"", was jointly developed by Pablo Picasso and Georges Braque from about 1908 through 1912. Analytic cubism was followed by Synthetic cubism, characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. Crystal Cubism was a distilled form of Cubism consistent with a shift between 1915 and 1916 towards a strong emphasis on flat surface activity and large overlapping geometric planes, practised by Braque, Picasso, Jean Metzinger, Albert Gleizes, Juan"
"in her left hand. Murray adapted the laurel wreath and olive branch innovations but also placed a sword in Nike's raised right hand. Starting in 1962, Yves Klein produced a series of plaster replicas of the ""Nike"" coated in dry pigment of his signature International Klein Blue affixed by resin entitled ""Victoire de Samatrace"". Swedish author Gunnar Ekelöf made ""Nike"" a central image in his poem ""Samothrace"", written in 1941, where the faceless deity, arms outstretched like sails, is made into a symbol of the fight and the coming victory against Nazism and the struggle for freedom throughout history. It"
"De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncuși. In France between 1947 and 1948, Yves Klein conceived his ""Monotone Symphony"" (1949, formally ""The Monotone-Silence Symphony"") that consisted of a single 20-minute sustained chord followed by a 20-minute silence – a precedent to both La Monte Young's drone music and John Cage's ""4′33″"". Klein had painted monochromes as early as 1949, and held the first private exhibition of this work in 1950—but his first public showing was the publication of the Artist's book """" in November 1954. Minimal art is also"
"that would attract attention to the issue they wanted to portray. In 1959 the French artist Yves Klein first performed Zone de Sensibilité Picturale Immatérielle. The work involved the sale of documentation of ownership of empty space (the Immaterial Zone), taking the form of a cheque, in exchange for gold; if the buyer wished, the piece could then be completed in an elaborate ritual in which the buyer would burn the cheque, and Klein would throw half of the gold into the Seine. The ritual would be performed in the presence of an art critic or distinguished dealer, an art"
"earnest to establish himself in the art world. Although Klein had painted monochromes as early as 1949, and held the first private exhibition of this work in 1950, his first public showing was the publication of the artist's book ""Yves Peintures"" in November 1954. Parodying a traditional catalogue raisonné, the book featured a series of intense monochromes linked to various cities he had lived in during the previous years. ""Yves Peintures"" anticipated his first two shows of oil paintings, at the Club des Solitaires, Paris, October 1955 and ""Yves: Proposition monochromes"" at Gallery Colette Allendy, February 1956. Public responses to"
"de Tokyo, Paris, France, 2012. 2017: 2016: 2015: 2014: 2013: 2012: 2010: 2009: 2006: 2016: 2014: 2015: 2011: 2010: 2007: Bernard Aubertin Bernard Aubertin was a French artist born in 1934 in Fontenay-aux-Roses, France. He died in August 2015 in Reutlingen, Germany. He met Yves Klein in 1957 and joined the Zero movement during the 1960-1961 period. One of his text (″""Esquisse de la situation picturale du rouge dans un concept spatial""″) was published in the Zero magazine, vol 3. July 1961. He is known for his red monochromes (1958), paint and nails on panel, fire paintings and performance arts."
"enigmatic, postmodernist. A sort of parody of Klein's ""Anthropometry"" performance is featured in the film ""Wise Guys"" (original title: ""Les Godelureaux"") directed by Claude Chabrol released in 1961. The Yves Klein archive is housed in Phoenix, Arizona, where his widow Rotraut Klein-Moquay has a home. Alongside works by Andy Warhol and Willem de Kooning, Klein's painting ""RE 46"" (1960) was among the top-five sellers at Christie's Post-War and Contemporary Art sale in May 2006. His monochromatic blue sponge painting sold for $4,720,000. Previously, his painting ""RE I"" (1958) had sold for $6,716,000 at Christie's New York in November 2000. In"
"he attended school in Berlin and Siegen. He studied Law and Art History in Cologne, Lausanne and Geneva. As a student, he began to build his own art collection, acquiring his first painting by Cy Twombly in 1966. By the age of 23 he had bought works by Twombly, Beuys, Fontana, Yves Klein, de Kooning, Cornell, and Kounellis. In 1970, together with Rolf Möllenhof (born 1939, Chemnitz), he directed the Möllenhof/Greve Galerie. In 1972, he became the sole proprietor of Galerie Karsten Greve in its original Cologne Lindenstraße location, debuting with an Yves Klein solo exhibition of his ""Anthropometry"" series."
"other works, such as ""Brushes"" (1974–1975), he uses hair from his head and the heads of family members and attaches it to different kinds of brushes, which he exhibits in wooden boxes, as a kind of box of ruins (a reliquary). These boxes were created according to strict minimalistic esthetic standards. After the Yom Kippur War there was a palpable intensifying of protest in Israeli art against everything that was perceived as Israeli militarism or its relationship with the Palestinians, the dominant medium for which was the performance. One of the leading artists in this protest movement was Pinchas Cohen"
"his trademark looping white scribbles on a slate-gray background, the work recalls his experience as a cryptologist at the Pentagon."" In 2007, an exhibition of Twombly's paintings, ""Blooming, a Scattering of Blossoms and Other Things"", and other works on paper from gallerist Yvon Lambert's collection, was displayed from June to September at the Museum of Contemporary Art in Avignon in Avignon. On July 19, 2007, police arrested Cambodian-French artist Rindy Sam after she kissed one panel of Twombly's triptych ""Phaedrus"". The panel, an all-white canvas, was smudged by Sam's red lipstick and she was tried in a court in Avignon"
"include ""recordings"" of rain that Klein made by driving around in the rain at 70 miles per hour with a canvas tied to the roof of his car, and canvases with patterns of soot created by scorching the canvas with gas burners. Klein and Arman were continually involved with each other creatively, both as Nouveaux Réalistes and as friends. Both from Nice, the two worked together for many years and Arman even named his son, Yves Arman after Yves Klein who was his god-father. Sometimes the creation of these paintings was turned into a kind of performance art—an event in"
"Zone de Sensibilité Picturale Immatérielle Zone de Sensibilité Picturale Immatérielle (Zone of immaterial pictorial sensibility) is an artist's book and performance by the French artist Yves Klein. The work involved the sale of documentation of ownership of empty space (the Immaterial Zone), taking the form of a cheque, in exchange for gold; if the buyer wished, the piece could then be completed in an elaborate ritual in which the buyer would burn the cheque, and Klein would throw half of the gold into the Seine. The ritual would be performed in the presence of an art critic or distinguished dealer,"
"The cubic outer shell of the Large House is formed by a glass facade, which gives view into the interior and the cylindric casing of the auditorium and its stairways, and the two monumental sculptures by the French artist Yves Klein. They consist of one 7×20 m (×) monochrome sponge sculpture in a distinctive blue (""Gelsenkirchen Blue"") because Klein's International Klein Blue was unsuitable for the large walls: the acetone-based mixture evaporated, the paint lost adhesion and luminescence, and it was highly flammable. A second, slightly smaller work, is in blue and white. These intensely blue reliefs, which are visible"
"created sexually charged erotic pieces. Oppenheim's best known piece is ""Object (Le Déjeuner en fourrure)"" (1936). The sculpture consists of a teacup, saucer and spoon that the artist covered with fur from a Chinese gazelle. It is displayed at the Museum of Modern Art in New York. Robert Rauschenberg began to create what became known as his Combine paintings in the early 1950s. In 1960 Yves Klein incorporated live nude models and a symphony orchestra in his performance pieces of his paintings. Klein also made use of Photomontage in the famous pseudo-performance picture of himself diving off a wall onto"
"based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone. With the painting ""Les Demoiselles d'Avignon"" (1907), Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. Analytic cubism was jointly developed by Pablo Picasso and Georges Braque, from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practiced by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and"
"Yves Klein Yves Klein (; 28 April 1928 – 6 June 1962) was a French artist and an important figure in post-war European art. He was a leading member of the French artistic movement of Nouveau réalisme founded in 1960 by art critic Pierre Restany. Klein was a pioneer in the development of performance art, and is seen as an inspiration to and as a forerunner of minimal art, as well as pop art. Klein was born in Nice, in the Alpes-Maritimes department of France. His parents, Fred Klein and Marie Raymond, were both painters. His father painted in a"
"mental abundance, when everyone becomes an 'artist'"". Its final sentence is: ""Such are our goals, and these will be the future goals of humanity."" This manifesto, written by Yves Klein, has been copyrighted since 1989 by the Gagosian Gallery. It begins with the prompts for the later statements in the manifesto, the first line being, ""Due to the fact that I have painted monochromes for fifteen years"". It is a meditation by the artist about his work and life: He appropriates the sky: He ends with an affirmation that he is ""ready to dive into the void"". Claes Oldenburg, a"