Recently my work with color has led me, in spite of myself, to search little by little, with some assistance (from the observer, from the translator), for the realization of matter, and I have decided to end the battle. My paintings are now invisible and I would like to show them in a clear and positive manner, in my next Parisian exhibition at Iris Clert’s.

(Stich, Sidra. Yves Klein. Hayward Gallery. London, 1994.)

On April 28, 1958, French artist Yves Klein opened his first -landmark- exhibition at the Iris Clert Gallery in Paris. The show, called La spécialisation de la sensibilité à l’état matière première en sensibilité picturale stabilisée, Le Vide (The Specialization of Sensibility in the Raw Material State into Stabilized Pictorial Sensibility, The Void), took place in a less than 20sqm gallery completely emptied of objects: all items were removed from the gallery space apart from a display case and all walls were painted white by the artist himself during a 48 hours isolation.

‘Little Girl Knitting’ [1918] by Daniel Garber, Charcoal on paper, 18.25 inches x 23.25 inches.

Before I make commentary regarding the four artworks in this blog article, please let me continue my oft tradition of utilising Wikipedia pages. You can read about the artist Daniel Garber’s career on his profile page by clicking here: Daniel Garber Wikipedia page.

‘Little Girl Knitting’ by American Impressionist painter Daniel Garber, shown above, is a charcoal monument.

Scholars still question Vasari’s attribution to Raphael of a small painting called, The Vision of Ezekiel.   I will leave the question of attribution to others but I do think that the subject of the painting has been misunderstood ever since Vasari mentioned it in his biography of Raphael.

Raphael: Vision of Ezekiel