Actually, a digital representation can only approximate the deep, other-worldly hue of the color known as IKB or International Klein Blue. Invented by French artist Yves Klein, IKB now has its own Wikipedia page:
International Klein Blue (or IKB as it is known in art circles) was developed by French artist Yves Klein as part of his search for colors which best represented the concepts he wished to convey as an artist. Although Klein had worked with blue extensively in his earlier career, it was not until 1958 that he used it as the central component of a piece (the color effectively becoming the art). Klein embarked on a series of monochromatic works using IKB as the central theme. These included performance art where Klein painted models’ naked bodies and had them walk, roll and sprawl upon blank canvases as well as more conventional single-color canvases.
The secret of IKB’s remarkable visual impact comes from its heavy reliance on Ultramarine, as well as Klein’s often thick and textured application of paint to canvas.
IKB was developed by Klein and chemists to have the same color brightness and intensity as dry pigments, which it achieves by suspending dry pigment in a clear synthetic resin. This new medium was patented by Klein.
Yves Klein was searching for another kind of blue with his famous Leap Into The Void (Le Saut dans le Vide).
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The legendary Kiki of Montparnasse posed for Man Ray’s 
![Fog at Isle Royale [Source: wildmengoneborneo.com]](../wp-content/uploads/2008/04/isle_royale_fog.jpg "Fog at Isle Royale [Source: wildmengoneborneo.com]")
If there is an emerging genetic underclass, I could run for class president or class clown. Read more in 
![Grant Wood. Parson Weem’s’ Fable. 1939. Amon Carter Museum, Forth Worth.. Steven Biel describes the painting: “Parson Weems, imitating Charles Willson Peale’s pose in The Artist in His Museum (1822), opens a red velvet curtain on the legendary scene: Augustine Washington, elegant in crimson coat, white ruffle, tan breeches, silver-buckled pumps, and green tricornered hat, grasps in his right hand the slim trunk of the bent cherry tree. A row of cherries dangles from the perfectly rounded treetop, mirroring the very cherry-like fringe of the Parson’s curtain. Augustine’s outstretched left palm and furrowed brow signal a serious inquiry. His son George, boyish in stature and dress—coatless, with sky-blue breeches and petite buckled pumps—is manly in his expression. In fact, his white-wigged head is that of Gilbert Stuart’s portrait and the dollar bill. He points with his right hand to the hatchet in his left. Wood chips lie in the circle of soil at the base of the tree, its lower trunk smoothly incised and poised to split off. In the background, a well-dressed slave couple harvests the fruit of a second tree.” [Alt Text Source: Common-Place/ http://www.common-place.org/vol-06/no-04/biel/ ]](../wp-content/uploads/2011/08/grant_wood_parson_weems_fable_200px.jpg "grant_wood_parson_weems_fable_200px")
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