Robert Ryman is an American painter identified with the movements of monochrome painting, minimalism, and conceptual art. He is best known for abstract, white-on-white paintings.
Ryman is interested in the nature of painting, more specifically abstraction. His line of inquiry explores: surface, support, medium, placement before viewer, and, importantly, colour. Ryman’s art is about, and is itself, the paint on the surface of a material that is affixed to or hung on a lighted wall in a gallery or museum. It is a square form, made from any number of materials, and the medium reviles the process in which it was made.
Ryman has almost a fixation with exploring ‘whiteness’, he has repeated a very similar set of aesthetics many, many times. It is this obsessive-repition that interest me, each work is subtly different and I’m my opinion beautiful.
‘Ledger’ 1982‘This is one of about nine paintings from the same period and is painted in a pigmented shellac laid over glass re-inforced plastic. The strips of aluminium which are part of the work act as brackets to attach it to the wall. Ryman pays great attention to the marks of the paintbrush and uses white because he regards it as less emotionally charged than other colours. His works are about surface, texture, grain and luminosity rather than spatial composition.’ http://www.tate.org.uk/art/artworks/ryman-ledger-t03550
‘Untitled’ 1972‘Seven aquatints’ is Ryman’s first group of etchings. He once said ‘My aquatints are white not because I am interested in making white prints but because printing them in white is more to the point visually. If I printed in black, the printed areas would become shapes and the aquatint could not be seen as clearly’
‘Untitled’ 1962Oil, gesso, and charcoal on linen.
‘Classico IV’ 1968Acrylic on hand made Classico paper, mounted on foamcore.