different forms of knowledge
we usually call the sciences and
humanities separately the physical is not
called this the two cultures do this
distinction between forms of
knowledge is something useful not to delimit
the forms of knowledge can us
useful but it is something fascia
that I am going to tell you today is an example of
that kind of borders that are not so
diffuse in that they are quite diffuse between
the different forms of knowledge and
in this case I am going to talk about science
and art
I bring you as an example this sculpture of
yves klein and surely flame that what
you know about fashion because of the blue color
klein o and good exist as some
mystical regarding this blue klein
like he has a secret recipe or that
is a color that is protected with a
patent and really I did not choose I chose
this work for several reasons one is
because it’s contemporary art yves klein
is a contemporary art artist and
contemporary art is ours
the other reason is because clegg is one of
perhaps the most iconic artists of all
the 20th century and I also feel for him a
special devotion be like
very much your work
This is a very representative work
because he uses blue klein and and a lot
of his work is monochrome ie it is
only blue
unfortunately his career as an artist
it was very short he only produced work during
seven years at 34 years he died of a
heart attack
even as I said to you is one of the
most iconic artists of the 20th century
the blue klein is really made with
a very concrete blue that is blue
overseas and the truth is that you could
tell the whole history of art or great
part of the history of art through
of the ultramarine blue
the ultramarine blue is extracted from a stone
which is called lapis lazuli
it is told that lapis lazuli was found
for the first time he found it
pole frame there by the thousand 271 in a
field in afghanistan
As you can see, it’s a lapis lazuli
a stone that normally has many
sales some in gold and silver
in fact it was believed that he had gold
to this day we know that really
lapis lazuli does not contain gold is the
incrustations that this stone has in
gold and silver are really from
pyrite and the visit is the sulfur of
iron
so it’s not gold the ancient Greeks
they described lapis lazuli as a clear
night sky full of stars
possibly the sapphire that is described
in the bible was lapis lazuli from
lapis lazuli is extracted this pigment the
the ultramarine blue
the blue really took time to form
part of dell art mainly because
well actually the blue concept took
to be part of our language
even when he wrote me the odyssey he
referred to the sea with the color of wine
we do not find old paintings with
blue because there are not many stones of
blue color for example altamira no
we found nothing painted blue
extract the pigment from
lapis lazuli is something really expensive is
expensive in several ways extract it and
It is expensive to bring it as I told you
main deposits are in
afghanistan to bring lapis lazuli
Europe for example had to come from
beyond the Sea
that’s why the pigment was called blue
overseas because it came from beyond the
the process of extracting the
first were described by marco polo
basically how they did the
pigments yesteryear it was pick up stones
of colors and grind them patiently already
from there to be able to extract
that blue as pure as possible and paint
with it was very expensive it came to be worth
even more than the gold miguel himself
Angel left some unfinished works
because you could not afford all the blue
overseas that needed durero sold
some of his works in exchange for some
how many ounces of ultramarine blue to
early 19th century in france
they did a contest in the society of
promotion of france and of a contest for
see what scientist was able to synthesize the
ultramarine blue in the laboratory without
need to have to use this
kind of expensive stones made a
contest to which the scientist who
achieved would take six thousand francs not
They should be synthesized and
economic synthesize it they put the
scientists hands to the work
a French scientist got it by
a very concrete method and in germany
almost at the same time another German chemist
came to the same conclusion
finally the prize was given to the
French chemist and for a while at
Overseas they called blue ultramarine
French this blue ultramarine is he is one
of those of the blues who used most
throughout the whole story but
clear throughout the whole story to
from the 19th century when you already knew
synthesize is indeed very
characteristic
the blue in impressionism in the
impressionism the blue was very important
mainly in impressionism for
that to give you an idea in the
19th century when photography too
burst into the world of art and
photography was interpreted as a way
of representation of reality
trustworthy we know that it’s not like this is not
exactly so there’s also no
conventions in photography but for
the painters try to portray the
reality in a reliable way had now
another look
what the impressionists tried was
capture the impression of light and
then they realized
one thing and that is that reality is not
black shadows are cool colors all
what we see dark is really done
with blue colors so the blue is
became one of the most colors
important for these artists while
that the black color was prescribed
No impressionist uses paint
black color
this concrete work that I show you of
renoir is a work that is also very
comic within the work of renewing by
the use of blue because all the colors
that our eye interprets as that the
people going in black congresses umbrella
blacks are really painted with blue
part of this work is painted with blue
cobalt than the blue that was used
before the ultramarine blue but in the end
this work ended up painting it remarked
ultramarine blue we find the two blue
in this work in this other work of van
gogh for example is the blue sky so
bright is made exclusively with
ultramarine blue
during Impressionism the painting that
most used was oil painting
the paintings are made of the
components mainly
one is the pigment the pigment is the
substance that notes color in the case
of the blue then the ultramarine blue and the other
important substance is what is called
binder the binder is what you
gives name to the technique for example the
oil painting today has a classroom to a
Oleaginous paint routine
Acrylic has a routine before acrylic
and that’s amazing they left
discovering throughout history to
late until the end of the 19th century
the painting that he used most was the
oil painting and the impressionists
mostly painted with paint
oil because I tell you this the
binder because blue paint klein
what he said at the beginning that he has
a supposed secret recipe as there
part of that now to this day already
we know that there really are not
secret recipes with all the
knowledge we have in chemistry
analytic we can decipher the
composition of virtually any
thing
the blue klein if you ever have the
opportunity to see it live if you do not
you have seen is something
impresses impresses by the texture that
painting is oil painting os
you realize that it has a brightness
characteristic not the same as painting
Acrylic has a characteristic brightness
instead when you see some work of
klein live does not have that brightness is
one thing is quite spectacular to see
live because it’s mate is a is a
very opaque color very opaque and
absolutely killed the first time I saw
the blue venus decline directly gave me the
impression that it was blue velvet
impresses and is something that Klein pursued
he had in his head that he wanted a
paint that had finished as if
was the dry pigment when you have the
blue hard powder he wanted that after
to use that pigment a paint and
that marry that had that appearance
of dry pigments
he believed that that would be possible but not
I had the training or the knowledge
as to develop the a painting with
that appearance
then he got in touch with a
paint manufacturer the manufacturer of
paintings adam and this in turn contacted
with a laboratory with the laboratory
rhone poulenc
in this laboratory developed the
binder that would give that finish the
blue paint klein called clothes m
it was a synthetic resin a resin is
similar was a derivative of vinyl and
mix it with this blue pigment
overseas and with other solvents that
he used klein to give him fluency
got that blue klein painting what
did clinton this was record what
recorded the recipe for his painting and the
called blue klein international in ica b
this sculpture is interesting for several
reasons mainly for the blue but
There are several readings we can make of
its shape and its materials for
interpret because it’s really so
important and everything that hides this
sculpture for example is a sculpture
small is a sculpture of 160 is of
some is not a 68 sculpture
centimeters
this means that it is a sculpture
that are always displayed on a stand
and the fact that something has to be put
on a pedestal has a speech behind
between what is art and what is not art if
whether or not it is placed on a pedestal is
a venus is shaped like a venus maybe
the form of the venus is one of the
most represented forms throughout
the whole history of art is a form
as very obvious to talk about art of
do that retrospective on art is
a sculpture if you look at the file
technical the technical sheet is that portfolio
in which the title appears the date of
creation the materials used is a
piece of plaster these cultures of
plaster that is plaster has
meaning in art especially in art
Contemporary materials are usually
have some kind of meaning
formerly the materials chose by
because they were the ones who had the cultures
They could be made of bronze or they could be
Of marble
we were the artists were a little
limited when choosing the
materials of those who did their works
but currently many of those
materials choose them because there is a
contained in them there is a poetic a
meaning in those materials that
wants to be used the plaster have no
has a meaning the streets a
Flimsy material is a cheap material
is a material that is not noble does not contribute
value none of the materials of this
sculpture has value by itself and the
paint that is a synthetic paint ni
the background material that is the sculpture
no value for themselves what that
what really has value in these
cultures the idea and that’s something very
own avant-garde art that is
Plaster also means that it is a
sculpture that can not be exposed to
outdoor
we have to keep it safe
in a gallery or in a museum
He also tells us about that desire for
keep our legacy in this
sculpture we can read more things is a
sculpture which seems to lack the
head that is missing his arms as if
the time would not have gone through her
He also talks about that but the most
interesting of all is that this
sculpture is blue
-It is a very bright blue very striking
where it is exposed eclipses everything
what’s around it but it’s a color
elegant said clay that blue makes
visible the invisible
I wanted to finish with a couple of
reflections
one is that this is contemporary art
never -13 6 contemporary art because
contemporary art is ours is
what happens in our circumstance
it is the art that belongs to us
the second reflection that I wanted zeros is
that scientific knowledge
it really is in all forms of
knowledge is intricate in all
the forms of knowledge with respect
to art allows us on the one hand to execute
new things brings us new
materials gives us even new
forms of interpretation that
scientific knowledge is the
scientific knowledge makes
artists can imagine things that
before they did not imagine
you imagine a caveman
in front of a blue venus they could
have imagined even the culture
scientific study allows us to delve into
all forms of knowledge and see
all forms of knowledge with
very characteristic prism that is the
prism of science knowledge
scientist allows us to appreciate us
It allows us to know and taste everything that we
surrounds
and is that science is culture
many thanks
[Applause]
[Music]
”
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