Who knows if someday, a great painter, looking with scorn on the often brutal game of supposed colorists and taking the seven colors back to the primordial white unity that encompasses them all, will not exhibit completely white canvases, with nothing, absolutely nothing on them. What will they find? That is the tremendous secret of the future. Others will come after us who will do the same. We cubists have only done our duty by creating a new rhythm for the benefit of humanity. Jean Metzinger, following the Succès de scandale created from the Cubist showing at the 1911 Salon des Indépendants, in an interview with Cyril Berger published in Paris-Journal, stated: However, this kind of activity bears more similarity to 20th century Dada, or Neo-Dada, and particularly the works of the Fluxus group of the 1960s, than to 20th century monochrome painting since Malevich.
Allais published his Album primo-avrilesque in 1897, a monograph with seven monochrome artworks.
(Although Bilhaud was not the first to create an all-black artwork: for example, Robert Fludd published an image of Darkness in his 1617 book on the origin and structure of the cosmos and Bertall published his black Vue de La Hogue (effet de nuit) in 1843.) In the subsequent exhibitions of the Incoherent arts (also in the 1880s) the writer Alphonse Allais proposed other monochrome paintings, such as "Première communion de jeunes filles chlorotiques par un temps de neige" ("First communion of anaemic young girls in the snow", white), or "Récolte de la tomate par des cardinaux apoplectiques au bord de la Mer Rouge" ("Tomato harvesting by apoplectic cardinals on the shore of the Red Sea", red). Monochrome painting was initiated at the first Incoherent arts' exhibition in 1882 in Paris, with a black painting by poet Paul Bilhaud entitled Combat de Nègres dans un tunnel (Negroes fight in a tunnel).
3 Monochrome painting in popular culture.
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