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White Dancer
Ulrich Trüssel
Photography - 93 x 93 x 3 cm Photography - 36.6 x 36.6 x 1.2 inch
£2,666
Bateau à sec sur le lac Baïkal
Christophe Gibourg
Photography - 100 x 100 x 1 cm Photography - 39.4 x 39.4 x 0.4 inch
£667
Johanna, Courrèges Haute couture, Champs-Elysées, Paris
Peter Knapp
Photography - 21.2 x 21.2 x 0.5 cm Photography - 8.3 x 8.3 x 0.2 inch
£3,199
El túnel
Jordi Valls Capell
Photography - 100 x 150 x 1 cm Photography - 39.4 x 59.1 x 0.4 inch
£6,945
Serie Mujeres Barbudass
Marina Núñez
Photography - 100 x 130 x 5 cm Photography - 39.4 x 51.2 x 2 inch
£6,932
You are my home planet
Joana Choumali
Photography - 50 x 50 x 2 cm Photography - 19.7 x 19.7 x 0.8 inch
£13,331
La mer et la montagne
Jérome Obiols
Photography - 100 x 140 x 0.1 cm Photography - 39.4 x 55.1 x 0 inch
£3,288
Fields of France
Emily Latimer
Photography - 44.5 x 54.5 x 3 cm Photography - 17.5 x 21.5 x 1.2 inch
£2,755
Urban wallpaper 10
Bruno Fontana
Photography - 80 x 120 x 0.1 cm Photography - 31.5 x 47.2 x 0 inch
£2,133
Confessions of the smoking nun
Formento+Formento Terry Pastor
Photography - 91 x 150 x 5 cm Photography - 35.8 x 59.1 x 2 inch
£4,444
E2
Jean-Paul Veison Marcelli
Photography - 20 x 30 x 0.3 cm Photography - 7.9 x 11.8 x 0.1 inch
£140
Weisshorn Panoramique
Thomas Crauwels
Photography - 90 x 180 x 1 cm Photography - 35.4 x 70.9 x 0.4 inch
£4,098
Baccarat II, Paris
Ellen von Unwerth
Photography - 36.8 x 54.6 cm Photography - 14.5 x 21.5 inch
£7,464
Phoebe, La Barque
André Carrara
Photography - 18 x 15 x 2 cm Photography - 7.1 x 5.9 x 0.8 inch
£667
Kévin & Jessie - Nanytes - Île de Nantes - série photo couleur danse et architecture
Lucas Perrigot
Photography - 59.4 x 84.1 x 0.1 cm Photography - 23.4 x 33.1 x 0 inch
£514
Jessie - Pont Éric Tabarly - série photo couleur danse et architecture
Lucas Perrigot
Photography - 59.4 x 84.1 x 0.1 cm Photography - 23.4 x 33.1 x 0 inch
£514
IBEYI - Deux minutes avant la scène - Paris - L'Olympia - série photo concert noir et blanc
Lucas Perrigot
Photography - 59.4 x 84.1 x 0.1 cm Photography - 23.4 x 33.1 x 0 inch
£533
Kara et ses oreilles
Fatoumata Diabaté
Photography - 100 x 66 x 2 cm Photography - 39.4 x 26 x 0.8 inch
£2,666
The Bunny and the Man (S)
Tyler Shields
Photography - 50.8 x 76.2 cm Photography - 20 x 30 inch
£4,147
The Anonymity of Shape (M)
Tyler Shields
Photography - 76.2 x 76.2 cm Photography - 30 x 30 inch
£4,147
The Anonymity of Shape (S)
Tyler Shields
Photography - 45.7 x 45.7 cm Photography - 18 x 18 inch
£2,073
Soldier Silhouette (XS)
Tyler Shields
Photography - 38.1 x 50.8 cm Photography - 15 x 20 inch
£2,073
The Cramps Lead singer Lux Interior (III)
Michael Grecco
Photography - 50.8 x 40.6 x 5.1 cm Photography - 20 x 16 x 2 inch
£2,488
Member of Human League, Susan Sulley - Boston, MA 1980 (II)
Michael Grecco
Photography - 40.6 x 50.8 x 5.1 cm Photography - 16 x 20 x 2 inch
£2,488
Member of Philip Oakey - Boston, MA 1980 (III)
Michael Grecco
Photography - 50.8 x 40.6 x 5.1 cm Photography - 20 x 16 x 2 inch
£2,488
The Cramps lead singer Lux Interior
Michael Grecco
Photography - 40.6 x 50.8 x 5.1 cm Photography - 16 x 20 x 2 inch
£2,488
Two Glasses of Champagne (S)
Tyler Shields
Photography - 45.7 x 45.7 cm Photography - 18 x 18 inch
£2,073
Red White and Blue (L)
Tyler Shields
Photography - 114.3 x 114.3 cm Photography - 45 x 45 inch
£8,293
The Bunny and the Man (XXL)
Tyler Shields
Photography - 160 x 213.4 cm Photography - 63 x 84 inch
£41,466
The Bunny and the Man (XL)
Tyler Shields
Photography - 121.9 x 182.9 cm Photography - 48 x 72 inch
£20,733
The Bunny and the Man (L)
Tyler Shields
Photography - 101.6 x 152.4 cm Photography - 40 x 60 inch
£12,440
The Bunny and the Man (M)
Tyler Shields
Photography - 76.2 x 101.6 cm Photography - 30 x 40 inch
£8,293
The Anonymity of Shape (XXL)
Tyler Shields
Photography - 177.8 x 177.8 cm Photography - 70 x 70 inch
£41,466
The Anonymity of Shape (XL)
Tyler Shields
Photography - 152.4 x 152.4 cm Photography - 60 x 60 inch
£16,586
The Anonymity of Shape (L)
Tyler Shields
Photography - 114.3 x 114.3 cm Photography - 45 x 45 inch
£8,293
Soldier Silhouette (XXL)
Tyler Shields
Photography - 160 x 213.4 cm Photography - 63 x 84 inch
£41,466
Soldier Silhouette (XL)
Tyler Shields
Photography - 137.2 x 182.9 cm Photography - 54 x 72 inch
£20,733
Soldier Silhouette (M)
Tyler Shields
Photography - 114.3 x 152.4 cm Photography - 45 x 60 inch
£12,440
Match Silhouette (XXL)
Tyler Shields
Photography - 177.8 x 177.8 cm Photography - 70 x 70 inch
£41,466
Match Silhouette (XL)
Tyler Shields
Photography - 152.4 x 152.4 cm Photography - 60 x 60 inch
£16,586
L'hôtel isolé, Alcúdia
Christelle Yambayisa
Photography - 70 x 105 x 1 cm Photography - 27.6 x 41.3 x 0.4 inch
£2,488
Exotic Emperor Tulip II (XXL)
Tyler Shields
Photography - 177.8 x 177.8 cm Photography - 70 x 70 inch
£41,466
Exotic Emperor Tulip II (XL)
Tyler Shields
Photography - 152.4 x 152.4 cm Photography - 60 x 60 inch
£16,586
Two Glasses of Champagne (XXL)
Tyler Shields
Photography - 177.8 x 177.8 cm Photography - 70 x 70 inch
£41,466
Two Glasses of Champagne (L)
Tyler Shields
Photography - 152.4 x 152.4 cm Photography - 60 x 60 inch
£16,586
Femme au temple
Raynald Najosky
Photography - 56 x 40 x 1 cm Photography - 22 x 15.7 x 0.4 inch
£978
Hotel Chelsea, New York. Third Floor, South
Victoria Cohen
Photography - 67.6 x 101.6 x 0.3 cm Photography - 26.6 x 40 x 0.1 inch
£2,654
Poolside Ladies
Slim Aarons
Photography - 76 x 101 x 0.01 cm Photography - 29.9 x 39.8 x 0 inch
£2,755
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!