Untitled Blue Plate (Assiette Bleue) - Yves Klein
Archival giclée
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Description
A ceramic plate finished in International Klein Blue, representing the artist's exploration of pure colour and the void.
This work features a ceramic plate coated in International Klein Blue (IKB). Yves Klein developed this specific ultramarine pigment in collaboration with chemists to maintain the intensity of the colour without the dulling effect of traditional binders. By applying this pigment to a functional object, Klein removed the plate from its domestic context and transformed it into a vehicle for pure colour. Klein sought to liberate art from the constraints of representation. He believed that colour, in its purest state, possessed a spiritual quality that could transcend the physical world. The application of IKB to the surface of the plate creates a sense of depth, drawing the viewer into a field of saturated blue. The texture of the pigment remains visible, providing a tactile quality that contrasts with the flatness of the colour field. This piece is part of a series of objects Klein produced during the late 1950s. By using everyday items, he explored the boundaries between art and life. The plate functions as a physical manifestation of his philosophy, where the object itself becomes secondary to the sensory experience of the colour. The absence of brushstrokes or compositional elements forces the viewer to confront the colour directly. This approach was central to his exhibitions, where he often presented empty spaces or monochromatic surfaces to encourage a meditative state. The work remains a clear example of his pursuit of the void and his desire to capture the infinite through the medium of paint.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Untitled Blue Plate (Assiette Bleue) - Yves Klein
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Why Choose Us ?
Damage-free delivery guarantee
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Museum-Quality Materials
Artist Biography
Yves Klein
He was born in Nice to artist parents and grew up between France, England, and Spain. He studied judo seriously, earning a fourth-degree black belt in Tokyo, and considered martial arts and art as related disciplines: both requiring control, precision, and the projection of force.
He exhibited an empty gallery in 1958 and called it Le Vide (The Void). Over three thousand people attended the opening. The gallery walls were painted white. There was nothing else. He served blue cocktails at the door. He sold invisible paintings (Zones of Immaterial Pictorial Sensibility) for gold, then threw half the gold into the Seine and burned the receipt.
He died of a heart attack in 1962, at thirty-four. His career lasted roughly eight years. In that time he made the monochromes, the Anthropometries, the fire paintings, the sponge sculptures, the void exhibitions, and enough theoretical writing to fill several volumes. He remains one of the most influential artists of the post-war period, which he would have considered insufficient recognition.
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