White

In physics, white is the sum of all the colours. To the human eye, white appears to be the total absence of colour. Amongst artists, white and its many uses in art are continuously evolving and challenging those who would embrace them. Is white, then, a non-colour, or an enhancer of colours? Intangible or material? Absence or excess?

Since Antiquity, white has been appreciated for its symbolic value. In Ancient Greece, where they would paint their statues, it was a sign of incompletion, whereas the Romans believed it showed pomp and imperialist virtue. With the rise of Christianity, white was used in opposition to black in order to emphasise moral dichotomies: the pure, divine white against the darkness. In some cases, however, white was used to show sickness or death, most notably in the pallid representations of the skeletal, crucified Christ.

In the Renaissance white was used to sublimate faces and backgrounds. Da Vinci even based his sfumato technique on the soft transition from light into darkness. Throughout the history of painting, white was considered precious for its ability to reflect light. It attracts the gaze even when used in the tiniest quantities, and illuminates the subject, drawing out stunning contrasts as seen in the works of Rembrandt, or in Vermeer's famous Girl with the Pearl Earring.

With the rise of Impressionism, white was used as the brightest tone amongst shades of grey. While Manet produced canvases which were forerunners to monochromes, including The Reader, which was almost pure white, Monet delivered a stunning gradient of whites whilst recreating the snow at his home in Giverny. The first true white monochrome appeared with the arrival of Malevitch's White Square on a White Background. The artist said 'I have broken the blue boundary of colour limits, and come out into the white'.

Modernists were equally passionate about white and valued it incredibly highly. Miro in particular questioned the status of white on canvases. In his painting Woman, Bird and Star white is in parts boldly painted, but is also distinctive for its absence around the star. Picasso, on the other hand, explored white in conjunction with his famous coloured periods. Piero Manzoni became famous thanks to his 'achromatic' paintings, a series of canvases produced exclusively in shades of white. Moving into the 20th century, white became synonymous with minimalist abstraction. For artists like Kandinsky, white was a cosmic colour, associated with a spiritual search for the absolute, guiding the artists as he seek to express his emotions.

Today, white remains an ever popular subject. Roman Opalka made his name creating a series of white numbers of a white background, while Daniel Arsham reinvents white walls in galleries by letting his artwork drip down onto them. White is a colour with multiple symbolic interpretations. The colour of divinity or humility; of purity and immaculate, of emptiness and absence, but always colour. If blue has Klein and red has Rothko, it appears that no artist has yet succeeded in fully mastering white – but maybe you'll find them in our selection!

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White

Crisálida

Le nez Fr

Blanc XXVI

Lampe La Garrigue

La Nascita, Milano Centrale, Italie

Insomnia

Paris Cathédrale Notre Dame de Paris 5

Jeanne Hébuterne - Planche 114

Chapter Nine Eleven

Azureish White

Totems

Sauvage

Situation bancale sous latitude 45'3

Trame

Sans titre

Marguerite diptyque

Spread your wings

Migrations - Portrait d'oiseaux et paysage imaginaire

Mona Lisa

L'outil

Perpetuum Mobile

Grandes vacances

Rock climber

Drab days and Coloured Minds #1

Post Apocalypse 8

Tracks V

Faces in the Forest

Terre Promise

Tayssy

Au lieu d'un tableau

Sans-titre

Hollywood Star 2

Sun rays - triptych

Prosôpon #19

Tot enmarait

Arum

Accords et Suspensions IV

Le chant des machines

Woman

Déshabillé II

Brothers

Portrait I (1)

I'm all smiles

Sans-titre

Globe White resin

Horse

Untitled

Composition pour les JO

Sail

The white garden

Sérénité 3

Throughthe looking glass. 3D Painting

Grosminet

Cinematography inspired session #24

Venice

Blue Cliff

Dans les champs, en fin d´après-midi.

Metamorphoses of desire

Compo ivoire et bleue

Invisible touch 856

We All Make the Flowers Grow III (White)

Portrait of My Barber (At The Barber Shop)

Visage blanc

Sans titre (136)

Tower of a white flower

Enfant nomade