Martin whatson art value3/19/2024 ![]() The colour of divinity or humility of purity and immaculate, of emptiness and absence, but always colour. ![]() White is a colour with multiple symbolic interpretations. 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. Today, white remains an ever popular subject. 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. Moving into the 20th century, white became synonymous with minimalist abstraction. Piero Manzoni became famous thanks to his 'achromatic' paintings, a series of canvases produced exclusively in shades of white. Picasso, on the other hand, explored white in conjunction with his famous coloured periods. In his painting Woman, Bird and Star white is in parts boldly painted, but is also distinctive for its absence around the star. Miro in particular questioned the status of white on canvases. Modernists were equally passionate about white and valued it incredibly highly. The artist said 'I have broken the blue boundary of colour limits, and come out into the white'. In my opinion the first number is fair value and second is a number that a posted offer at would prob get one to come out for sale - sometimes this is the. The first true white monochrome appeared with the arrival of Malevitch's White Square on a White Background. Prints For Sale, Art Auctions, Martin Whatson New Release, Official Books and Toys Gallery Show and Exhibition News Martin Whatson Street Art, the original Banksy Forum. 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. With the rise of Impressionism, white was used as the brightest tone amongst shades of grey. 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. Throughout the history of painting, white was considered precious for its ability to reflect light. Da Vinci even based his sfumato technique on the soft transition from light into darkness. In the Renaissance white was used to sublimate faces and backgrounds. In some cases, however, white was used to show sickness or death, most notably in the pallid representations of the skeletal, crucified Christ. 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 Ancient Greece, where they would paint their statues, it was a sign of incompletion, whereas the Romans believed it showed pomp and imperialist virtue. Since Antiquity, white has been appreciated for its symbolic value. Is white, then, a non-colour, or an enhancer of colours? Intangible or material? Absence or excess? Amongst artists, white and its many uses in art are continuously evolving and challenging those who would embrace them. To the human eye, white appears to be the total absence of colour. In physics, white is the sum of all the colours.
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