In this chapter, the useful resource highlights the artworks done by more than a few artists. Beginning with Yves Klein, the paper illustrates one of his techniques including portray of the walls to erase other arts. This is recognized as purification, and it was followed by using meditation in an attempt to generate a mental visualization that will later be displayed on canvas. Apparently, colours are used by artists to represent positive immaterial things and the pneumatic period noticed the creation of works based on intangible factors such as invisible energy. For example, Klein’s spiritual color used to be blue. Apparently. The article goes on to inform that the openness to interpretation of monochromes is essential to obtain meanings from the vacancy of such paintings. Klein’s personal mythology is therefore perceptible even by individuals who are not artistically complicated.
In almost a similar fashion, another Artist displayed his art in the gallerie Iris Clert where he filled the entire area with garbage. Much unlike Yves, Arman focussed on artwork founded on impressing objects dipped in paint and then transferred to canvas.by using discarded objects and refuse, this artist was able to create an aspect of reality. The exhibitions by these painters can, therefore, be describes as contrary paths albeit with similar ends. The artists display both emptiness and fullness in their works. Likewise, purity and sullies are also highlighted. In a way, Klein’s rejection of utilizing material items was well complemented by Arman’s use of objects and not voids. In other words, each of the paintings by the two artists creates impressions that indeed, nature has the ability to impart in humanity a sense of reference both directly and with clarity.