A striking example of Yves Klein's Anthropometry series, featuring human body imprints rendered in his signature International Klein Blue pigment.

Yves Klein, a central figure in post-war European art, developed his Anthropometry series as a method to remove the artist's hand from the act of painting. By using human models as living brushes, Klein directed them to coat their bodies in his signature International Klein Blue (IKB) pigment and press themselves against large sheets of paper. This specific work captures the resulting imprints, which function as physical records of the human form rather than traditional figurative representations. The process was often performed in front of an audience, accompanied by his Monotone Symphony, a single continuous chord played for twenty minutes followed by silence. This performative aspect shifted the focus from the finished object to the ritual of creation. The blue pigment, which Klein patented, possesses a matte, saturated quality that absorbs light, creating a sense of depth and immateriality. The figures appear suspended against the pale background, their forms reduced to essential silhouettes that suggest movement and presence. These works reflect Klein's interest in the void and the spiritual potential of colour. By delegating the application of paint to his models, he sought to achieve a state of detachment, allowing the medium to dictate the final composition. The resulting shapes are organic and fluid, maintaining a tension between the recognisable human anatomy and the abstract nature of the pigment marks. This approach challenged the conventions of mid-century painting, moving away from the gestural brushwork typical of the era in favour of a more conceptual and systematic methodology. The Anthropometries remain a primary example of Klein's attempt to bridge the gap between the physical body and the metaphysical realm through the medium of pure, unadulterated colour.