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From I Send You This Cadmium Red: A Correspondence between John Berger and John Christie

Last Blues of Dusk by Susannah HellerToday I'll try to reply to your blue only with words, without a colour. Yes, Yves Klein's blue is dense, the colour of an object, not a space. It is so densely blue that I'd say it accuses! Everything else except the fact of the blue has been eliminated and somehow (he feels) it's the spectator's fault

[. . .} The blue which is aerial and not dense, is what I call to myself an Aegean Blue. It is the blue of the cross on the Greek flag. The pale Klein blue nags because it has no depth--and it is as brittle as china. The Aegean blue has depth and total indifference.

[. . .} Blue is perhaps jewel. Blue is perhaps adornment. Blue is also modesty--the robe of the Madonna. And perhaps it's this "play" between two things which makes for the erotic. I do not know. (Yes, now I've remembered, the blue of blueberries is sexy).

[. . .} Blue is sad, blue is memory and nostalgia, but blue is also affrontery and impudence. And this is what I love about the colour. The most expensive of colours. Blue is prize. No public one. Intimate prize. Blue says: outrageously and absurdly: I am yours or you are mine! And no other colour can judge us. No simple colour can judge jewel. There's an impromptu by Schubert  which talks of this. And Charlie Parker became Bird because he knew about blue.