Robert Ryman

Ryman recognises 1965 as the year that he reaches maturity as a painter. From that time his work is divided into series: Winsor (1967), Standards (1967), Classico 5 (1968), General (1970), these works manifest the artist's experimental will and not only with the nature of pigment (and his disposition to compose stripes), but his research also extends to the media and supports he uses (steel plates, masking tape, enamel, acrylic, chalk, enamelac, copper, plexiglass, fibreglass and acrylivin) and the notion of clustering and sketches, visible in Lugano (1968).

The Surface Veil (1970) series marks the beginning of the critical review of the picture plane and wall relationship, when including adhesive tape as a fastening element. The next step in this regard is the inclusion of bolts in the corners, emphasising on the visibility of the fastening system as an intrinsic part of the work: Embassy I (1976), Phoenix (1979), Access (1983) or Range (1983). Maximum dimensions of the painting as the object are Pace (1984), where he places a wooden ironing board perpendicular to the wall (a contrast between the edge and the painted lower and upper surfaces) and Expander (1985), whose bolts move into the painting.