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

Accord

Mirro conversation 03

White flowers

Autoportrait

Selfie from Europe

SMS

Blues Covid

Sans-titre

Green 09

Hex Snoopy Love

What's Taking Them So Long?

Silence bleu

Balance

The Cove

Wild Kong Oil

Miles Davis

Au port

Mouillage

Kong x Air Jordan

Untitled (Red/White)

Day in july M 1

Fantasia and Fugue

Slim: Blue energy 1

Hidden place

Distance Means Nothing to Entangled Hearts

From there

One dollar rosso bianco one

White flowers abstraction

Portrait PUG - French school - Where is my body 03 Chut les Barbizons! NSWE

Smile

Portrait Siberian Kitten Cat - French school

Great Ebony

I love my style in Louis Vuitton

Clouds

La foudre

Pampelonne

Venice

Decked in Finery

Blanc de blanc

Palette N°1

L’étendue paisible

Mirror of Moonlight

Central Park

Winter on the River

Earthly

Snow Covered Church

In the Parent's Garden

C. Z. Guest

Selo - 4

S217 Le Derviche Tourneur -1

Abstract Spring Awakening

Double Doubt

Thy Brother's Keeper

Composition No. 447

Harry Brant in Connecticut

The Illustrated book

Formscape no. 45

Formscape no. 46

Mickey Magic

Composition No.349

Composition No.318

Au galop, au galop n'est pas rose

Walls & Façades Series #8

Vetements fall 21

Noir vertige (Vortex 26)

Overlord