Abstract Geometric Drawings and Watercolor Paintings

Cut-Up Paper I.5 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often re...

The new works of Mylinh Nguyen designed from polymer resin, bring us into a nature whose refinement commands admiration. From the physiognomy of living or extinct plant species, the ...

"Untitled 12" is a gouache on paper by contemporary Russian artist Dmitry Samygin. Minimalist and geometric drawings.

Breathers (Flora * Fauna * Fungi * Biota) Gouache on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / Gestural Abstraction / Abstract Art / M...

Cut-Up Paper II.7 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often r...

Cut-Up Paper I.14 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often r...

Cut-Up Paper I.15 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often r...

Cut-Up Paper I.5 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often re...

accumulated smoke (carbon pigment) on paper 10 x 10 inches; image size / 21.25 x 17.25 x 1.25 inches; framed Bryan David Griffith's work explores the idea that dualities—light and ...

Cut-Up Paper II.3 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often r...

accumulated smoke (carbon pigment) on paper 10 x 10 inches; image size / 21.25 x 17.25 x 1.25 inches; framed Bryan David Griffith's work explores the idea that dualities—light and ...

Her work is basically drawing; drawings of endless patterns of ink, like cosmic fractals mixed with collages and cutting technique. With simple materials she makes reflections on a s...

acrylic on paper, framed Dion Johnson’s studio practice exists at the intersection of intention and reaction. His pared down visual vocabulary in combination with hard-edged abstrac...

The drawings of endless patterns of ink, like cosmic fractals mixed with collages and cutting technique. With simple materials I make reflections on a sense of life ́s mystery. My dr...

Abstract Watercolor N.1 by Dmitry Samygin Minimalist and geometric paintings. Technique: Watercolor Color: Green Size: H. 30 x 21 x 0.1 cm Dmitry Samygin is a Furniture and Prod...

Kate Shepherd Here and There #4, 2020 Enamel and transfer on paper 12 1/2 x 19 inches

Shipping in a tube rolled. This drawing is a fresh imprint of the impulse of the liveliness of the present moment. It is done on white watercolor paper using ink and two pastels. Wh...

Abstract Watercolor N.2 by Dmitry Samygin Minimalist and geometric paintings. Technique: Watercolor Color: Green Size: H. 30 x 21 x 0.1 cm Dmitry Samygin is a Furniture and Prod...

The drawings of endless patterns of ink, like cosmic fractals mixed with collages and cutting technique. With simple materials I make reflections on a sense of life ́s mystery. My dr...

acrylic on paper, framed Dion Johnson’s studio practice exists at the intersection of intention and reaction. His pared down visual vocabulary in combination with hard-edged abstrac...

My first works are digital, in that aspect each decision can be rethought and changed as many times as necessary. Unlike my previous works, this was the first time that I was faced with a blank paper...

My first works are digital, in that aspect each decision can be rethought and changed as many times as necessary. Unlike my previous works, this was the first time that I was faced with a blank paper...

Linda Turner, raised both in NYC and Northern Virginia, resides in Brooklyn, NY. She achieved a BFA in Surface Design/Textile Design from the Fashion Inst...

My first works are digital, in that aspect each decision can be rethought and changed as many times as necessary. Unlike my previous works, this was the first time that I was faced with a blank paper...

My first works are digital, in that aspect each decision can be rethought and changed as many times as necessary. Unlike my previous works, this was the first time that I was faced w...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

"Untitled 10" is a watercolor on paper by contemporary Russian artist Dmitry Samygin. Minimalist and geometric drawings.

Richard Garrison collects information from typically overlooked aspects of daily life. Observed data from places like big box stores and parking lots are systematically transformed i...

This mesmerizing ink drawing on clay-coated panel by Jenifer Kent shows off the artist's meditative process as she hand-draws, without assistance from a straight edge, a network of l...

acrylic on archival Canson watercolor paper Mauricio Trenard is an artist, educator and arts activist. He says this series is of great interest to him, as it offers the potential ...

"Untitled 7" is a watercolor on paper by contemporary Russian artist Dmitry Samygin. Minimalist and geometric drawings.

Anna Kruhelska is a visual artist and architect working across fields of art and design. She creates abstract, three-dimensional paper wall reliefs that...

QUIRIJN VAN TIEL Rotterdam 1900-1967 Rhoon RUE DE BELLE VILLE II 1960 Gouache on paper 48 x 61 cm. Signed and dated: lower right ‘Quirijn 60’ Herkomst: Private collection, The Net...

An exquisite work of geometric abstraction by this celebrated artist Winston Roeth Untitled, ca. 1996 Pastel on handmade paper Hand signed on the front Frame included: Floated and framed in the original wood frame with uv plexiglass Measurements: Framed: 13.5"h x 12.75"w Artwork: 10"h x 9"w More about Winston Roeth: At first glance Roeth’s painted panels of wood or slate appear very simple: flat planes of colour that look a certain way, but which shift in the changing light or as you move around them. They are exquisitely painted in layers of velvety pigment and reveal their secrets slowly: quiet combinations that play gentle tricks on the eye - simultaneously drawing the viewer into dense voids and bouncing the gaze back with a vibrant intensity. Roeth’s compositions are distilled to this apparent simplicity through the most minimal ingredients. Sometimes a picture is divided into grids, a geometric harmony of lines and colours, so that the matt expanse of paint is broken up by shimmeringly luminous lines in a perfect balance of light, depth and colour. Others combine planes of a single colour with a contradictory border: an edge on which the picture turns. In a world so accustomed to instant gratification Winston Roeth’s paintings require and reward an unusual level of contemplation. Roeth is based in Beacon, New York...

acrylic on archival Canson watercolor paper Mauricio Trenard is an artist, educator and arts activist. He says this series is of great interest to him, as it offers the potential ...

Simon Samsonian (1912 - 2003) Colorful Geometric Abstraction, 1981 Oil on paper 16 x 22 inches Signed and dated lower right Provenance: Estate of the artist This survivor of the Armenian genocide wound up in a Cairo orphanage in 1927. He rose to fame as one of Egypt’s great modernists, but after moving to Long Island late in life he withdrew into anonymity. Now his compelling story is being told. Art historians are finally beginning to realize that the power of abstraction in its early years was a zeitgeist not limited to the major European centers of the avant-garde — Paris, Munich, and Moscow — but one that quickly rippled to major cities throughout the world. Within a few decades that original shock of a new vision had inspired thousands of artists from different cultures — particularly those the Middle East — whose translations were not slavish imitations of works by seminal figures like Picasso, Braque, Malevich, and Kandinsky but creative variants colored by their respective cultures. This essay focuses on an extraordinary Armenian artist, his harrowing survival of the genocide, his rise to fame in Cairo, and his creation of a unique style of abstraction. Art historians have typically formed a chorus that teaches the history of abstraction like this: Just before and during the World War I era, several avant-garde artists emerged to create shockingly different new forms by which artists could express themselves. In Paris, Picasso and Braque broke out with cubism, quickly followed by Mondrian. In Moscow, Malevich created Suprematism, the ultimate hard-edge geometric abstraction. And in Munich, Kandinsky emerged as the father of Abstract Expressionism. Within these few short years a zeitgeist was sensed throughout the art world. American pioneers, too — particularly Stanton Macdonald-Wright and Morgan Russell — felt this explosive freedom of expression. When Europe was recovering after World War I it became clear that Paris would retain its title as capitol of the art world, lasting through the Roaring Twenties and even through the Great Depression. But the end of World War II changed everything. A parallel war had been won by a group of irascible young Abstract Expressionists in New York — led by Pollock, Rothko, DeKooning, and Kline. No sooner had Paris been liberated from the Germans than Picasso, Matisse, Breton, and Duchamp surrendered to the Americans. From that point on New York would be the epicenter of the art world. But a lens that focuses myopically on the war between the avant-garde of Paris and New York misses the wider narrative of multiple aesthetic modernities that developed in the several decades following World War I. For Armenian artists the matter is even more complex owing to the genocide of 1915 where more than 1.5 million people — seventy-five percent of Armenians in the Ottoman Empire — were massacred. Those not shot on the spot were sent on death marches through the Mesopotamian desert without food or water. Frequently, the marchers were stripped and forced to walk naked under the scorching sun until they dropped dead. As a child Samsonian witnessed the murder of his parents and most of the members of his family. Soon thereafter, his older sister, Anahid, quickly shepherded him into a line of children being rescued by Greek nuns. But they became separated and he lost her, too. He was sent to a Greek orphanage in Smyrna (now Izmir), on Turkey’s west coast. Because he only knew his first name, the orphanage gave him a last name based on the place where they found him — Samsun — a major port on Turkey’s north coast on the Black Sea. His birth date was unknown, too. According to Samsonian’s vague recollections he assumed he was about three or four years old at the onset of the genocide, which would place his birth year in 1911 or 1912. In 1922, when Samsonian was about 10, the Turks ended their war with the Greeks by putting Smyrna to the torch in what has been called the “Catastrophe of Smyrna.” Once again, the child was on the run, escaping the fire and slaughter. He found temporary refuge in Constantinople, but within a year that major port would fall to the Turks, too, and become renamed as Istanbul. This time, Samsonian was whisked away to an orphanage in Greece founded by the American charity, Near East Relief — which is credited with saving so many Armenian orphans that the American historian Howard M. Sachar said it “quite literally kept an entire nation alive. Any understanding of Samsonian’s approach to modernism requires careful consideration of the impact of his early years because his art is inseparable from the anguish he experienced. In 1927, when he was a teenager, he was transferred to Cairo, Egypt, then a cosmopolitan city hosting a sizable portion of the Armenian diaspora. There he lived with thirty-two other children on the top floor of the Kalousdian Armenian School. Upon graduating in 1932 he won a scholarship to attend the Leonardo da Vinci Art Institute — an Italian art school in Cairo — where he won first prize in final examinations among one hundred students. He found work with an Armenian lithographic printer and he returned to the Kalousdian Armenian School to teach drawing. In 1939 he married one of his students, Lucy Guendimian. The Cairo in which Samsonian matured as an artist was home to many prominent art collectors after World War I. In this receptive environment Samsonian exhibited widely and won many awards. Beginning in 1937 and for the next thirty years he exhibited annually at the prestigious Le Salon du Caire hosted by the Société les Amis de l’Art (founded in 1921). After World War II he hit his stride as a modernist in Cairo, counting among his peers other artists of the Armenian diaspora such as Onnig Avedissian, Achod Zorian, Gregoire Meguerdichian, Hagop Hagopian...

acrylic on archival Canson watercolor paper Mauricio Trenard is an artist, educator and arts activist. He says this series is of great interest to him, as it offers the potential ...

Anna Kruhelska is a visual artist and architect working across fields of art and design. She creates abstract, three-dimensional paper wall reliefs that startle in their intricacy an...

Dana Piazza's creates abstract colorful drawings, full of the illusion of depth, movement, and three-dimensionality. His highly obsessive ink drawings on paper are built upon algorit...

Joel BASS (1942-2019) Adjusted silhouette n°2, 1975 Mixed media, collage, gouache, adhesive on paper Signed, dated and. titled Work : 17,5 x 28 cm Frame : 3...

Finesse and delicateness are what best characterize Antonin Anzil’s artistic practice. Using a sharp tool to carefully pull the fiber of the paper from the front, the artist gives bi...

Colorful geometric abstract mixed media painting by modern artist Don Shaw. The work features primary colored shapes intertwined with a crouching pink figure. Signed and dated in fro...

The new works of Mylinh Nguyen designed from polymer resin, bring us into a nature whose refinement commands admiration. From the physiognomy of living or extinct plant species, the ...

Linda Turner, raised both in NYC and Northern Virginia, resides in Brooklyn, NY. She achieved a BFA in Surface Design/Textile Design from the Fashion Inst...

Polly Apfelbaum Color Circle and Star, 2004 Fabric Marker and Fabric Dye on Velvet Cotton Signed and dated in ink by the artist on the front with artist's inkstamp. Frame Included Si...

Larry Zox Study for Scissors Jack Series, 1965 Mixed media and colored ink drawing on draft paper Hand signed and dated on lower right recto (front). Bears Forager House Collection s...

Finesse and delicateness are what best characterize Antonin Anzil’s artistic practice. Using a sharp tool to carefully pull the fiber of the paper from the front, the artist gives bi...

Barrilete 2, 2015 Ferrite and graphite on paper 9.80h x 7.90w in Unframed Miriam Peralta was born in 1957 in Buenos Aires, where she also received her formal academic training at ...

Cubist painting by painter Josif Iliu born in 1919 in Romania, Iliu exposes and produces theater sets in Bucharest. He first emigrated to Italy and then to Paris in 1949. He joined t...

Burton Wasserman Untitled Mid-Century Modern Geometric Abstraction, 1967 Color pencil on thin vellum paper Hand signed and dated by the artist on the front Frame Included: elegantly ...

charcoal on paper Mark Pomilio’s method, motives, and conceptual considerations are centered on visually articulating recent developments in the life sciences. It is not his intent ...

Jay Rosenblum Polarity #9, 1981 Acrylic on Paper painting 6 × 9 1/2 inches Pencil signed and titled on the front Unique work Unframed ]This gem of a work is an acrylic painting on p...

My first works are digital, in that aspect each decision can be rethought and changed as many times as necessary. Unlike my previous works, this was the first time that I was faced with a blank paper...

Burton Wasserman Untitled Mid Century Modern Geometric Abstraction, ca. 1962 Color pencil on thin rice paper Hand signed by the artist on the front Frame Included: elegantly matted a...

Jeremy Moon Drawing 73/13 (20/5/73), 1973 Pastel on paper Hand-signed by artist, Signed and dated 20/5/73 in graphite on the lower front; the back of the v...