White
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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
$3,319
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
$830
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
$3,983
El túnel
Jordi Valls Capell
Photography - 100 x 150 x 1 cm Photography - 39.4 x 59.1 x 0.4 inch
$8,647
Serie Mujeres Barbudass
Marina Núñez
Photography - 100 x 130 x 5 cm Photography - 39.4 x 51.2 x 2 inch
$8,631
Pelican Heart, Western Australia
mat beetson
Photography - 100 x 80 x 2 cm Photography - 39.4 x 31.5 x 0.8 inch
$6,639
You are my home planet
Joana Choumali
Photography - 50 x 50 x 2 cm Photography - 19.7 x 19.7 x 0.8 inch
$16,597
La mer et la montagne
Jérome Obiols
Photography - 100 x 140 x 0.1 cm Photography - 39.4 x 55.1 x 0 inch
$4,094
Fields of France
Emily Latimer
Photography - 44.5 x 54.5 x 3 cm Photography - 17.5 x 21.5 x 1.2 inch
$3,430
Urban wallpaper 10
Bruno Fontana
Photography - 80 x 120 x 0.1 cm Photography - 31.5 x 47.2 x 0 inch
$2,656
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
$5,532
E2
Jean-Paul Veison Marcelli
Photography - 20 x 30 x 0.3 cm Photography - 7.9 x 11.8 x 0.1 inch
$174
Weisshorn Panoramique
Thomas Crauwels
Photography - 90 x 180 x 1 cm Photography - 35.4 x 70.9 x 0.4 inch
$5,137
Phoebe, La Barque
André Carrara
Photography - 18 x 15 x 2 cm Photography - 7.1 x 5.9 x 0.8 inch
$830
Kara et ses oreilles
Fatoumata Diabaté
Photography - 100 x 66 x 2 cm Photography - 39.4 x 26 x 0.8 inch
$3,319
Femme au temple
Raynald Najosky
Photography - 56 x 40 x 1 cm Photography - 22 x 15.7 x 0.4 inch
$1,217
8th Position Silhouette
Tyler Shields
Photography - 45.7 x 45.7 cm Photography - 18 x 18 inch
$2,500
L'hôtel isolé, Alcúdia
Christelle Yambayisa
Photography - 70 x 105 x 1 cm Photography - 27.6 x 41.3 x 0.4 inch
$3,098
8th Position Silhouette
Tyler Shields
Photography - 76.2 x 76.2 cm Photography - 30 x 30 inch
$5,000
On Top Of The World II
Tyler Shields
Photography - 76.2 x 57.2 cm Photography - 30 x 22.5 inch
$5,000
Champagne Pour Silhouette
Tyler Shields
Photography - 114.3 x 114.3 cm Photography - 45 x 45 inch
$10,000
Bunny Silhouette III
Tyler Shields
Photography - 177.8 x 177.8 cm Photography - 70 x 70 inch
$50,000
Bunny Silhouette III
Tyler Shields
Photography - 152.4 x 152.4 cm Photography - 60 x 60 inch
$20,000
Bunny Silhouette III
Tyler Shields
Photography - 114.3 x 114.3 cm Photography - 45 x 45 inch
$10,000
8th Position Silhouette
Tyler Shields
Photography - 177.8 x 177.8 cm Photography - 70 x 70 inch
$50,000
8th Position Silhouette
Tyler Shields
Photography - 152.4 x 152.4 cm Photography - 60 x 60 inch
$20,000
8th Position Silhouette
Tyler Shields
Photography - 114.3 x 114.3 cm Photography - 45 x 45 inch
$10,000
On Top Of The World II (4)
Tyler Shields
Photography - 213.4 x 160 cm Photography - 84 x 63 inch
$50,000
On Top Of The World II (3)
Tyler Shields
Photography - 182.9 x 142.2 cm Photography - 72 x 56 inch
$25,000
On Top Of The World II (2)
Tyler Shields
Photography - 152.4 x 114.3 cm Photography - 60 x 45 inch
$15,000
On Top Of The World II (1)
Tyler Shields
Photography - 101.6 x 76.2 cm Photography - 40 x 30 inch
$10,000
Oceani Mentali n°4
Luca Izzo
Photography - 50 x 70 x 0.4 cm Photography - 19.7 x 27.6 x 0.2 inch
$387 $349
Poolside Ladies
Slim Aarons
Photography - 76 x 101 x 0.01 cm Photography - 29.9 x 39.8 x 0 inch
$3,430
Oceani Mentali n°6
Luca Izzo
Photography - 70 x 50 x 0.4 cm Photography - 27.6 x 19.7 x 0.2 inch
$387 $349
Oceani Mentali n°3
Luca Izzo
Photography - 50 x 70 x 0.4 cm Photography - 19.7 x 27.6 x 0.2 inch
$387 $349
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!