Exhibited: Galerie Alexandre Iolas, Paris, Geneva, 1965
Galerie Karl Flinker, Paris, France, 1970
Kunsthalle, Berne, Germany, 1971
Galerie Bonnier, Geneva, Switzerland 1979
Galerie Yves Arman, New York, USA, 1982
Centre Georges Pompidou, Paris, France, 1983
The Museum of Modern Art, Seibu, Tarakawa, Japan, 1985
Iwaki City Art Museum, Fukushima, Japan, 1985
The Seibu Museum of Art, Tokyo, Japan, 1986
Fuji Television Gallery, Tokyo, Japan, 1986
Riva Yares Gallery, Scottsdale, USA, 1986
Galerie Art Curial, Paris, France, 1987
Galerie d’Arte Niccoli, Parme, Italy, 1989
Galerie Saqqarah, Gstaad, Switzerland, 1989
Ecole de Nice et ses Mouvements, France, 1989
Fondation Miro, Barcelona, Spain, 1990-1991
Galerie Montaigne, Paris, France, 1992
Exposition l’Amore, Turin, Italy, 1992
Musee Ludwig, Cologne, Germany, 1995
Hayward Gallery, London, England, 1995
Musee Reina Sofia, Madrid, Spain, 1995
Galerie Art Focus, Zurich, Switzerland, 1995-1996
Musee Ludwig, Cologne, Germany, 1997
Museet for Samtidskunst, Oslo, Norway, 1997
Sarah Hilden Art Museum, Tampere, Finland, 1997
Museum of Contemporary Art, Sydney, Australia, 1997
Galerie Guy Pieters, Knokk-Zoute, Belgium, 1998

Literature: Paul Wember, Yves Klein, 1969
Pierre Restany, Yves Klein, 1985
Akim Monet, Heroes of Contemporary Art, Gstaad, Switzerland, 1989
Keith Greystoke, A Private Collection, La Haye, Holland, 1990
Beaux Arts, no.129, 1994
Hannah Weistemier, Yves Klein, 1995
Sidra Stich, Yves Klein, 1995
Platinum Guild International, 1995

Notes: Under the simple name of “Venus of Alexandria” we find, in actuality Praxiteles’ Cnide Aphrodite, a representation of the goddess of beauty and love created in 350 BC.   The Romans called their replica Venus, the goddess of gardens, and later on of love and beauty.

The first major presentation of the editions of the Venus of Alexandria to the public took place on the occasion of the opening of the 1982 Chicago art fair.    Yves Arman, Klein’s godchild and Ledeur designed a special layout, in which visitors entered the Fair walking up a path lined with 12 Venuses on the right and 12 on the left, positioned atop fluted columns and placed on a ground of white marble gravel in front of draping folds of white fabric.

The artist slightly reduced the length of the legs as compared to the original model.