A striking example of Yves Klein's Anthropometry series, featuring the artist's signature International Klein Blue pigment applied via the human form.

The Anthropometry series represents a radical departure from traditional painting methods. Yves Klein utilised the human body as a living brush, directing models covered in his signature International Klein Blue (IKB) pigment to press themselves against paper or canvas. This specific work, ANT 123, captures the physical traces of these movements, resulting in forms that suggest the human silhouette without relying on conventional figurative representation. Klein sought to remove the artist's hand from the direct application of paint, preferring to act as a conductor for the process. By using the body as a tool, he explored the relationship between the physical presence of the model and the resulting mark on the surface. The blue pigment, which Klein patented for its specific saturation and matte finish, provides a stark contrast against the white background. This creates a sense of suspension, where the figures appear to float or dissolve into the space of the paper. These works were often created during public performances, accompanied by his Monotone Symphony. The process prioritised the event of creation over the final object. The resulting prints offer a glimpse into this experimental period of mid-twentieth-century art, where the boundaries between performance, body art, and painting were blurred. The marks left by the models are both ghostly and immediate, recording a singular moment of contact. This print captures the texture of the pigment and the gestural quality of the original application, allowing for a close examination of the interaction between the body and the medium.