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

This work belongs to the Anthropometry series, a project initiated by Yves Klein in 1960. Klein moved away from traditional brushwork, choosing instead to use human models as living brushes. He coated these models in his signature International Klein Blue (IKB) pigment and directed them to press their bodies against large sheets of paper. The resulting imprints capture the physical presence of the human form through direct contact, rather than through representational depiction. The composition features ghostly, white silhouettes against a saturated blue field. The edges of the figures are blurred, suggesting movement and the ephemeral nature of the performance. Klein viewed these sessions as public spectacles, often accompanied by his Monotone Symphony, which consisted of a single continuous chord played for twenty minutes. By removing his own hand from the act of painting, Klein sought to detach the art object from the artist's personal ego. This specific piece demonstrates the tension between the controlled application of pigment and the unpredictable nature of the body's interaction with the surface. The blue hue is intense, absorbing light and creating a sense of depth that contrasts with the flat, white negative space of the figures. The work functions as a record of a performance, preserving the energy and physical trace of the models involved. It remains a primary example of Klein's interest in the immaterial and his desire to capture the essence of life through unconventional methods. The lack of traditional framing or perspective forces the viewer to engage with the raw materiality of the pigment and the stark outlines of the human shapes.