Wall credit re-write : Tate Modern

Robert Ryman 1930 : Tate Modern property “Ledger”

Out of Rymans many paintings from this time, this particular piece is the one, as an institute, thought to be the best to have on show. Ryman chose the colour white as it would be the one that carries the less emotional attachment and references, this would very much remind the viewer that they are looking at nothing and to try and look for a very conceptual reason to every aspect of the painting. As a very detail oriented artist, he focused a lot on the marks which can be made from using a paint brush and seeing the difference in those brushstrokes, these ideals being visible with the prominent lighting around the piece.  The white has been painted on shellac laid over glass re-inforced plastic, connoting to the fragility of the colour white, furthermore using aluminium brackets to attach to the piece to the wall speaks well to the concept of the work, that the virginal white projects the idea of luminosity and that paint is very much every aspect of the piece, every little texture created form the brush stroke is the piece it self and is very apparent. Spatial composition is not a element that is present in an of this collection.