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Single Day Newspaper (November 27th 1960), detail, photograph,'The Painter of Space Hurls Himself...
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Single Day Newspaper (November 27th 1960), detail, photograph,'The Painter of Space Hurls Himself into The Void'.
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Title
Single
Day
Newspaper
(November
27th
1960)
,
detail
,
photograph,'The
Painter
of
Space
Hurls
Himself
into The
Void'
.
Creator
Klein, Yves (French painter, sculptor, and performance artist, 1928-1962)
Date
1960
Cultural Context
French
European
Western European
Style/Period
Modern (styles and periods)
New Realist (post-1945 style)
Theme
Photomontages
Montages (visual works)
Photographs
Composite photographs
Manipulated photographs
Black-and-white photographs
News photographs
Photojournalism
Journalism
Newspapers
Serials (publications)
Publications
Periodicals
Fantasy
Imagination
Rosicrucian
Body art
Figurative art
Figures (representations)
Profiles (figures)
Men (male humans)
Artists
Painters (artists)
Sculptors
Performance artists
Motion
Architecture (object genre)
Buildings
Plants (vegetation)
Vegetation
Streets
Roads
Eye-level views
Bicyclists
Bicycles
Riding (traveling)
Subject
Montages
Composite photographs
Photographs
Photojournalism
Journalism
Newspapers
Newspaper headlines
Periodicals
Fantasy
Men
Artists
Sculptors
Jumping
Falling
Locomotion
Human locomotion
Architecture
Buildings
Streets
Roads
Plants
Bicycles & tricycles
Cyclists
Cycling
Riding
Description
"
Klein's
leap
took
its
place
among
texts
advertising
an
imaginary
'Theatre
of the
Void'
. The
image
wittily
pitted
Klein's
artistic
apotheosis
against
other
newsworthy
material
of the
day
. The
first
Soviet
and
American
space
launches
had
occurred
during
1957-9
,
whilst
Klein
preempted
the
first
man
in
space
, the
Russian
Yuri
Gagarin
, by
six
months.
"
(Caption
,
p.80)
; "Of
all
the
New
Realists
Yves
Klein
most
acutely
registered
the
inexorable
changes
in
art's
societal
role
. He was a
mixture
of
self-appointed
messiah
and
self-aggrandizing
showman
.
Like
Salvador
Dali
, he
set
out
to
sell
himself
. That he
appeared
to
sell
off
the
hard-earned
freedoms
of
avant-gardism
, not
least
its
spiritual
reserves
, has
troubled
many
commentators
.
[…]
Klein
was
almost
childishly
romantic
, a
lover
of
cults
and
rituals
.
Aged
20
, he
became
devoted
to
Rosicrucianism
,
having
contacted
a
Californian
sect
immersed
in the
principles
of
Max
Heindel's
The
Rosicrucian
Cosmo-conception
(1937)
. Their
beliefs
-
which
were
only
tangentially
related
to those of the
hermetic
seventeenth-century
Rosicrucian
Brotherhood
-
emphasized
an
evolution
from the
current
materially
bound
epoch
to a
future
age
of
pure
spirit
. They
saw
'empty'
space
as
spiritually
replete
,
whilst
matter
constituted
crystallized
space
.
It
was the
responsibility
of
initiates
to
enlighten
their
brethren
.
Klein
thus
conceived
of
himself
as the
prophet
of a
liberating
'immateriality'
. His
Le
Vide
['The
Void'
, a
carefully
stage-managed
event
that
consisted
of an
emptying
and
white-washing
of the
same
space]
[…
]
obviously
embodied
the
notion
of a
spiritually
energized
emptiness
.
(Zen
Buddhism
,
which
he
became
aware
of on a
trip
to
Japan
in
1952-3
,
similarly
embraces
'nothingness'
.
[John]
Cage
and
[Robert]
Rauschenberg
,
it
will be
recalled
, were
utilizing
Zen
principles
in
America
at this
time.)
Similarly
,
Klein's
late
photo-manipulation
The
Painter
of
Space
Hurls
Himself
in the
Void
pictured
the
artist
as the
avatar
of
human
potentiality
:
Heindel's
followers
envisaged
an
age
when
men
would
levitate
. To
add
to
all
this,
Klein
loved
Catholicism
and
religious
fetishism
; he was a
lifelong
devotee
of
Saint
Rita
of
Cascia.
"
(Excerpts
,
pp.78-79)
People Pictured
Klein, Yves, 1928-1962
Location Depicted
Paris (France)
France
Technique
Photography
Montage (image-making technique)
Photographic processes
Photographic techniques
Black-and-white photography
Work Type
Photomontages
Montages
Composite photographs
Photographs
Manipulated photographs
Newspapers
Source
Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.[66], detail of fig.39)
Rights
© ADAGP, Paris, and DACS, London, 2000.
Digital Publisher
University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format
image/jpeg
Digital File Name
VRC
826-34.jpg
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