The artwork, entitled
Dry Blue Pigment, dates from 1957 and has previously been on display at the Tate Liverpool.
Yves Klein (1928 - 1962) loves deep blue and Lot 241, «Venus Bleue,» shows what happens when you take a Classical sculpture of a woman's torso and make a very fine plastic sculpture of such a form and cover it with
dry blue pigment in synthetic resin instead of lustrous white marble.
Not exact matches
Untitled
Blue Sponge Sculpture (SE 238) c. 1959
Dry pigment and synthetic resin on natural sponge, metal stem, and stone base
Heading downstairs to the exhibition space, «Daughters of Penelope» surveys the historic relationship between women artists and Dovecot: there's a strong sense of place ever present, from Moss circle / square (2010) in which Caroline Dear draws on her training in basket weaving, picking out grasses from her home on Skye which she
dries and knots into tactile, perishable grids, to Naomi Robertson's Kantha Diaries (2011) produced after a trip to west Bengal, absorbing Kantha quilt designs into
blue - white reproductions of daily rhythms, or a rug, Untitled (2013) created by Julie Brook and Dovecot, that mimics the gradations of tone in the British artist's burnt ochre
pigment drawings, picked up while travelling through deserts in Libya and Namibia.
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.
Untitled
Blue Monochrome (IKB 44), 1955,
dry pigment in synthetic resin on canvas, mounted on panel, 41 × 136 × 3 cm.
A simple light beige doesn't have much coloring
pigments and will
dry much quicker than a
blue, yellow, or a color that has tons of colorant in it.