White
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Dans l'effluve de Carmen
Yannick Bernard
Painting - 80 x 80 x 2 cm Painting - 31.5 x 31.5 x 0.8 inch
£1,413
Ardentelle
Sylviane Le Boulc'h
Sculpture - 140 x 130 x 150 cm Sculpture - 55.1 x 51.2 x 59.1 inch
£69,319
Le Louvre
Enfant Précoce / Francis Essoua Kalu
Painting - 214 x 130 x 2 cm Painting - 84.3 x 51.2 x 0.8 inch
£14,219
Sin título. Serie Blanca
Dario Berterreche
Painting - 140 x 160 x 0.1 cm Painting - 55.1 x 63 x 0 inch
£965
“Keith Haring style – Red heart” skateboard
Guillaume & Anthony
Sculpture - 80 x 20 x 3 cm Sculpture - 31.5 x 7.9 x 1.2 inch
£978
Les ceuilleurs de fruits
José Saboia
Painting - 50 x 50 x 2 cm Painting - 19.7 x 19.7 x 0.8 inch
£1,777
Street Knowledge (N.W.A)
Mark Drew
Painting - 121.9 x 121.9 x 3.8 cm Painting - 48 x 48 x 1.5 inch
£18,245
With or Without Airplay (NAS: New York State of Mind =)
Mark Drew
Painting - 91.4 x 91.4 x 3.8 cm Painting - 36 x 36 x 1.5 inch
£14,928
I Wanna Blow Up, Stack My Dough (The Notorious B.I.G)
Mark Drew
Painting - 91.4 x 91.4 x 3.8 cm Painting - 36 x 36 x 1.5 inch
£16,172
Flowers by the sea
Evgeny Chernyakovsky
Painting - 90 x 80 x 2 cm Painting - 35.4 x 31.5 x 0.8 inch
£1,824
Flamingo pond
Evgeny Chernyakovsky
Painting - 75 x 100 x 2 cm Painting - 29.5 x 39.4 x 0.8 inch
£1,907
Mini collector Draw me a bear
Stéphane Gautier
Print - 25 x 25 x 1 cm Print - 9.8 x 9.8 x 0.4 inch
£533
Series “Between Heaven and Earth” - turquoise blue
Nataliia Krykun
Painting - 150 x 200 x 4 cm Painting - 59.1 x 78.7 x 1.6 inch
£8,887
Éolienne I (faisan)
Alzbeta Wolfová
Photography - 95 x 84 x 5 cm Photography - 37.4 x 33.1 x 2 inch
£1,066
Ragisména series White M6
Rodrigo Zuliani Hauck Zampol
Sculpture - 30 x 19.8 x 3.8 cm Sculpture - 11.8 x 7.8 x 1.5 inch
£498
Ragisména series White M5
Rodrigo Zuliani Hauck Zampol
Sculpture - 30 x 19.8 x 3.8 cm Sculpture - 11.8 x 7.8 x 1.5 inch
£498
Ragisména series White M3
Rodrigo Zuliani Hauck Zampol
Sculpture - 30 x 19.8 x 3.8 cm Sculpture - 11.8 x 7.8 x 1.5 inch
£498
Ragisména series White M4
Rodrigo Zuliani Hauck Zampol
Sculpture - 30 x 19.8 x 3.8 cm Sculpture - 11.8 x 7.8 x 1.5 inch
£498
Ragisména series White M2
Rodrigo Zuliani Hauck Zampol
Sculpture - 30 x 19.8 x 3.8 cm Sculpture - 11.8 x 7.8 x 1.5 inch
£498
Twigs in a clear winter sky
Alvaro Petritoli
Painting - 74 x 120 x 3 cm Painting - 29.1 x 47.2 x 1.2 inch
£3,639
Winter filigree reflection
Alvaro Petritoli
Painting - 86 x 110 x 3 cm Painting - 33.9 x 43.3 x 1.2 inch
£3,639
Un Vuelo Color Blanco
Adriana Velarca
Painting - 50 x 50 x 3 cm Painting - 19.7 x 19.7 x 1.2 inch
£3,777
Cage / Sans titre
Meteo Meteo
Painting - 29.7 x 21 x 0.2 cm Painting - 11.7 x 8.3 x 0.1 inch
£102 £61
Désiquilibre
Éric Dabancourt
Fine Art Drawings - 40 x 30 x 2 cm Fine Art Drawings - 15.7 x 11.8 x 0.8 inch
£302
Cage / Sans titre
Meteo Meteo
Painting - 29.7 x 21 x 0.2 cm Painting - 11.7 x 8.3 x 0.1 inch
£102 £61
La Bouée - Série village de belle-île-en-mer
Yves Guillard
Painting - 100 x 100 x 2 cm Painting - 39.4 x 39.4 x 0.8 inch
£1,666
Marée basse - Série village et port de Belle-île-en-mer
Yves Guillard
Painting - 80 x 80 x 2 cm Painting - 31.5 x 31.5 x 0.8 inch
£1,333
Les quais - Série village et port de Belle-île-en-mer
Yves Guillard
Painting - 80 x 80 x 2 cm Painting - 31.5 x 31.5 x 0.8 inch
£1,333
Sauzon - Série village et port de Belle-île-en-mer
Yves Guillard
Painting - 100 x 81 x 2 cm Painting - 39.4 x 31.9 x 0.8 inch
£1,333
On Top Of The World II (4)
Tyler Shields
Photography - 213.4 x 160 cm Photography - 84 x 63 inch
£41,466
On Top Of The World II (3)
Tyler Shields
Photography - 182.9 x 142.2 cm Photography - 72 x 56 inch
£20,733
On Top Of The World II (2)
Tyler Shields
Photography - 152.4 x 114.3 cm Photography - 60 x 45 inch
£12,440
On Top Of The World II (1)
Tyler Shields
Photography - 101.6 x 76.2 cm Photography - 40 x 30 inch
£8,293
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!