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Original Drawing Painting Abstract Biomorphic Art Gold Leaf Michele Oka Doner
Located in Surfside, FL
This is mixed media. I am not positive of the materials. it is a translucent, vellum, parchment type of paper. with either charcoal or ink and gold leaf (or gold paint) hand signed in pencil lower right. It is not titled on it. Michele Oka Doner (born 1945, Miami Beach, Florida, United States) is an American artist and author who works in a variety of media including sculpture, lithograph and woodcut prints, drawing, watercolor painting, functional objects and video. Her workes is based on flora, fauna, DNA and all sorts of exotica. She has also worked in costume and set design and has created over 40 public and private permanent art installations, including her best known artwork is "A Walk on the Beach" (1995, 1999), and its extension, "A Walk on the Beach: Tropical Gardens" (1996–2010) at the Miami International Airport. It is composed of over 9000 bronzes embedded in terrazzo with mother-of-pearl. At one and quarter linear miles, it is one of the largest artworks in the world. Born and raised in Miami Beach, Oka Doner is the granddaughter of painter Samuel Heller. Oka Doner's father, Kenneth Oka, was elected judge and mayor of Miami Beach during her youth (1945–1964). The family lived a public and politically active life. In later years, Oka Doner co-authored, with Mitchell Wolfson Jr. Miami Beach: Blueprint of an Eden, an intimate portrayal of Miami Beach from the 1920s to the 1960s using their families as prisms to reflect the times. Reviewed as classic of social history, with material that was part of the public record of its time, it was used as a textbook in Human Geography at George Washington University in 2008. In 1957, age 12, Oka Doner began a year-long independent project studying the International Geophysical Year (IGY). She assembled a book of drawings, writings and collages that became a template for projects realized in later years. In 1963, Oka Doner left Florida for the University of Michigan, Ann Arbor. Her art instructor Milton Cohen...
Category

Early 2000s Abstract Abstract Drawings and Watercolors

Materials

Gold Leaf

Study for Old Canal, Red and Blue (Rockaway, Morris Canal)
Located in New York, NY
Oscar Bluemner was a German and an American, a trained architect who read voraciously in art theory, color theory, and philosophy, a writer of art criticism both in German and English, and, above all, a practicing artist. Bluemner was an intense man, who sought to express and share, through drawing and painting, universal emotional experience. Undergirded by theory, Bluemner chose color and line for his vehicles; but color especially became the focus of his passion. He was neither abstract artist nor realist, but employed the “expressional use of real phenomena” to pursue his ends. (Oscar Bluemner, from unpublished typescript on “Modern Art” for Camera Work, in Bluemner papers, Archives of American Art, Smithsonian Institution, as cited and quoted in Jeffrey R. Hayes, Oscar Bluemner [1991], p. 60. The Bluemner papers in the Archives [hereafter abbreviated as AAA] are the primary source for Bluemner scholars. Jeffrey Hayes read them thoroughly and translated key passages for his doctoral dissertation, Oscar Bluemner: Life, Art, and Theory [University of Maryland, 1982; UMI reprint, 1982], which remains the most comprehensive source on Bluemner. In 1991, Hayes published a monographic study of Bluemner digested from his dissertation and, in 2005, contributed a brief essay to the gallery show at Barbara Mathes, op. cit.. The most recent, accessible, and comprehensive view of Bluemner is the richly illustrated, Barbara Haskell, Oscar Bluemner: A Passion for Color, exhib. cat. [New York: Whitney Museum of American Art, 2005.]) Bluemner was born in the industrial city of Prenzlau, Prussia, the son and grandson of builders and artisans. He followed the family predilection and studied architecture, receiving a traditional and thorough German training. He was a prize-winning student and appeared to be on his way to a successful career when he decided, in 1892, to emigrate to America, drawn perhaps by the prospect of immediate architectural opportunities at the Chicago World’s Fair, but, more importantly, seeking a freedom of expression and an expansiveness that he believed he would find in the New World. The course of Bluemner’s American career proved uneven. He did indeed work as an architect in Chicago, but left there distressed at the formulaic quality of what he was paid to do. Plagued by periods of unemployment, he lived variously in Chicago, New York, and Boston. At one especially low point, he pawned his coat and drafting tools and lived in a Bowery flophouse, selling calendars on the streets of New York and begging for stale bread. In Boston, he almost decided to return home to Germany, but was deterred partly because he could not afford the fare for passage. He changed plans and direction again, heading for Chicago, where he married Lina Schumm, a second-generation German-American from Wisconsin. Their first child, Paul Robert, was born in 1897. In 1899, Bluemner became an American citizen. They moved to New York City where, until 1912, Bluemner worked as an architect and draftsman to support his family, which also included a daughter, Ella Vera, born in 1903. All the while, Oscar Bluemner was attracted to the freer possibilities of art. He spent weekends roaming Manhattan’s rural margins, visiting the Bronx, Brooklyn, Queens, and New Jersey, sketching landscapes in hundreds of small conté crayon drawings. Unlike so many city-based artists, Bluemner did not venture out in search of pristine countryside or unspoiled nature. As he wrote in 1932, in an unsuccessful application for a Guggenheim Fellowship, “I prefer the intimate landscape of our common surroundings, where town and country mingle. For we are in the habit to carry into them our feelings of pain and pleasure, our moods” (as quoted by Joyce E. Brodsky in “Oscar Bluemner in Black and White,” p. 4, in Bulletin 1977, I, no. 5, The William Benton Museum of Art, Storrs, Connecticut). By 1911, Bluemner had found a powerful muse in a series of old industrial towns, mostly in New Jersey, strung along the route of the Morris Canal. While he educated himself at museums and art galleries, Bluemner entered numerous architectural competitions. In 1903, in partnership with Michael Garven, he designed a new courthouse for Bronx County. Garven, who had ties to Tammany Hall, attempted to exclude Bluemner from financial or artistic credit, but Bluemner promptly sued, and, finally, in 1911, after numerous appeals, won a $7,000 judgment. Barbara Haskell’s recent catalogue reveals more details of Bluemner’s architectural career than have previously been known. Bluemner the architect was also married with a wife and two children. He took what work he could get and had little pride in what he produced, a galling situation for a passionate idealist, and the undoubted explanation for why he later destroyed the bulk of his records for these years. Beginning in 1907, Bluemner maintained a diary, his “Own Principles of Painting,” where he refined his ideas and incorporated insights from his extensive reading in philosophy and criticism both in English and German to create a theoretical basis for his art. Sometime between 1908 and 1910, Bluemner’s life as an artist was transformed by his encounter with the German-educated Alfred Stieglitz, proprietor of the Little Galleries of the Photo-Secession at 291 Fifth Avenue. The two men were kindred Teutonic souls. Bluemner met Stieglitz at about the time that Stieglitz was shifting his serious attention away from photography and toward contemporary art in a modernist idiom. Stieglitz encouraged and presided over Bluemner’s transition from architect to painter. During the same period elements of Bluemner’s study of art began to coalesce into a personal vision. A Van Gogh show in 1908 convinced Bluemner that color could be liberated from the constraints of naturalism. In 1911, Bluemner visited a Cézanne watercolor show at Stieglitz’s gallery and saw, in Cézanne’s formal experiments, a path for uniting Van Gogh’s expressionist use of color with a reality-based but non-objective language of form. A definitive change of course in Bluemner’s professional life came in 1912. Ironically, it was the proceeds from his successful suit to gain credit for his architectural work that enabled Bluemner to commit to painting as a profession. Dividing the judgment money to provide for the adequate support of his wife and two children, he took what remained and financed a trip to Europe. Bluemner traveled across the Continent and England, seeing as much art as possible along the way, and always working at a feverish pace. He took some of his already-completed work with him on his European trip, and arranged his first-ever solo exhibitions in Berlin, Leipzig, and Elberfeld, Germany. After Bluemner returned from his study trip, he was a painter, and would henceforth return to drafting only as a last-ditch expedient to support his family when his art failed to generate sufficient income. Bluemner became part of the circle of Stieglitz artists at “291,” a group which included Marsden Hartley, John Marin, and Arthur Dove. He returned to New York in time to show five paintings at the 1913 Armory Show and began, as well, to publish critical and theoretical essays in Stieglitz’s journal, Camera Work. In its pages he cogently defended the Armory Show against the onslaught of conservative attacks. In 1915, under Stieglitz’s auspices, Bluemner had his first American one-man show at “291.” Bluemner’s work offers an interesting contrast with that of another Stieglitz architect-turned-artist, John Marin, who also had New Jersey connections. The years after 1914 were increasingly uncomfortable. Bluemner remained, all of his life, proud of his German cultural legacy, contributing regularly to German language journals and newspapers in this country. The anti-German sentiment, indeed mania, before and during World War I, made life difficult for the artist and his family. It is impossible to escape the political agenda in Charles Caffin’s critique of Bluemner’s 1915 show. Caffin found in Bluemner’s precise and earnest explorations of form, “drilled, regimented, coerced . . . formations . . . utterly alien to the American idea of democracy” (New York American, reprinted in Camera Work, no. 48 [Oct. 1916], as quoted in Hayes, 1991, p. 71). In 1916, seeking a change of scene, more freedom to paint, and lower expenses, Bluemner moved his family to New Jersey, familiar terrain from his earlier sketching and painting. During the ten years they lived in New Jersey, the Bluemner family moved around the state, usually, but not always, one step ahead of the rent collector. In 1917, Stieglitz closed “291” and did not reestablish a Manhattan gallery until 1925. In the interim, Bluemner developed relationships with other dealers and with patrons. Throughout his career he drew support and encouragement from art cognoscenti who recognized his talent and the high quality of his work. Unfortunately, that did not pay the bills. Chronic shortfalls were aggravated by Bluemner’s inability to sustain supportive relationships. He was a difficult man, eternally bitter at the gap between the ideal and the real. Hard on himself and hard on those around him, he ultimately always found a reason to bite the hand that fed him. Bluemner never achieved financial stability. He left New Jersey in 1926, after the death of his beloved wife, and settled in South Braintree, Massachusetts, outside of Boston, where he continued to paint until his own death in 1938. As late as 1934 and again in 1936, he worked for New Deal art programs designed to support struggling artists. Bluemner held popular taste and mass culture in contempt, and there was certainly no room in his quasi-religious approach to art for accommodation to any perceived commercial advantage. His German background was also problematic, not only for its political disadvantages, but because, in a world where art is understood in terms of national styles, Bluemner was sui generis, and, to this day, lacks a comfortable context. In 1933, Bluemner adopted Florianus (definitively revising his birth names, Friedrich Julius Oskar) as his middle name and incorporated it into his signature, to present “a Latin version of his own surname that he believed reinforced his career-long effort to translate ordinary perceptions into the more timeless and universal languages of art” (Hayes 1982, p. 189 n. 1). In 1939, critic Paul Rosenfeld, a friend and member of the Stieglitz circle, responding to the difficulty in categorizing Bluemner, perceptively located him among “the ranks of the pre-Nazi German moderns” (Hayes 1991, p. 41). Bluemner was powerfully influenced in his career by the intellectual heritage of two towering figures of nineteenth-century German culture, Johann Wolfgang von Goethe and Georg Wilhelm Friedrich Hegel. A keen student of color theory, Bluemner gave pride of place to the formulations of Goethe, who equated specific colors with emotional properties. In a November 19, 1915, interview in the German-language newspaper, New Yorker Staats-Zeitung (Abendblatt), he stated: I comprehend the visible world . . . abstract the primary-artistic . . . and after these elements of realty are extracted and analyzed, I reconstruct a new free creation that still resembles the original, but also . . . becomes an objectification of the abstract idea of beauty. The first—and most conspicuous mark of this creation is . . . colors which accord with the character of things, the locality . . . [and which] like the colors of Cranach, van der Weyden, or Durer, are of absolute purity, breadth, and luminosity. . . . I proceed from the psychological use of color by the Old Masters . . . [in which] we immediately recognize colors as carriers of “sorrow and joy” in Goethe’s sense, or as signs of human relationship. . . . Upon this color symbolism rests the beauty as well as the expressiveness, of earlier sacred paintings. Above all, I recognize myself as a contributor to the new German theory of light and color, which expands Goethe’s law of color through modern scientific means (as quoted in Hayes 1991, p. 71). Hayes has traced the global extent of Bluemner’s intellectual indebtedness to Hegel (1991, pp. 36–37). More specifically, Bluemner made visual, in his art, the Hegelian world view, in the thesis and antithesis of the straight line and the curve, the red and the green, the vertical and the horizontal, the agitation and the calm. Bluemner respected all of these elements equally, painting and drawing the tension and dynamic of the dialectic and seeking ultimate reconciliation in a final visual synthesis. Bluemner was a keen student of art, past and present, looking, dissecting, and digesting all that he saw. He found precedents for his non-naturalist use of brilliant-hued color not only in the work Van Gogh and Cezanne, but also in Gauguin, the Nabis, and the Symbolists, as well as among his contemporaries, the young Germans of Der Blaue Reiter. Bluemner was accustomed to working to the absolute standard of precision required of the architectural draftsman, who adjusts a design many times until its reality incorporates both practical imperatives and aesthetic intentions. Hayes describes Bluemner’s working method, explaining how the artist produced multiple images playing on the same theme—in sketch form, in charcoal, and in watercolor, leading to the oil works that express the ultimate completion of his process (Hayes, 1982, pp. 156–61, including relevant footnotes). Because of Bluemner’s working method, driven not only by visual considerations but also by theoretical constructs, his watercolor and charcoal studies have a unique integrity. They are not, as is sometimes the case with other artists, rough preparatory sketches. They stand on their own, unfinished only in the sense of not finally achieving Bluemner’s carefully considered purpose. The present charcoal drawing is one of a series of images that take as their starting point the Morris Canal as it passed through Rockaway, New Jersey. The Morris Canal industrial towns that Bluemner chose as the points of departure for his early artistic explorations in oil included Paterson with its silk mills (which recalled the mills in the artist’s childhood home in Elberfeld), the port city of Hoboken, Newark, and, more curiously, a series of iron ore mining and refining towns, in the north central part of the state that pre-dated the Canal, harkening back to the era of the Revolutionary War. The Rockaway theme was among the original group of oil paintings that Bluemner painted in six productive months from July through December 1911 and took with him to Europe in 1912. In his painting journal, Bluemner called this work Morris Canal at Rockaway N.J. (AAA, reel 339, frames 150 and 667, Hayes, 1982, pp. 116–17), and exhibited it at the Galerie Fritz Gurlitt in Berlin in 1912 as Rockaway N. J. Alter Kanal. After his return, Bluemner scraped down and reworked these canvases. The Rockaway picture survives today, revised between 1914 and 1922, as Old Canal, Red and Blue (Rockaway River) in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D. C. (color illus. in Haskell, fig. 48, p. 65). For Bluemner, the charcoal expression of his artistic vision was a critical step in composition. It represented his own adaptation of Arthur Wesley’s Dow’s (1857–1922) description of a Japanese...
Category

20th Century American Modern Abstract Drawings and Watercolors

Materials

Paper, Charcoal

Original 70's Hand Painted Textile Design Gouache botanical style White Paper
Located in ALCOY/ALCOI, ES
Abstract Expressionist design. Sealed on the back with the design studio name and number . Ilegible signature We offer a small number of these original illustration designs by this ...
Category

1970s Abstract Abstract Drawings and Watercolors

Materials

Paper, Gouache

"Abstract Composition IX" Abstract Painting 10" x 14" in by Shaker El Maadawy
Located in Culver City, CA
"Abstract Composition IX" Abstract Painting 10" x 14" in by Shaker El Maadawy signed & dated Shaker El Maadawy graduated from the Faculty of Fine Arts in painting in 1967 in his na...
Category

20th Century Abstract Expressionist Abstract Drawings and Watercolors

Materials

Paper, Watercolor

Abstract watercolor (de-accessioned from Museum of Modern Art (MOMA), w/ label)
Located in New York, NY
Robert Duran Untitled #1 (with Museum of Modern Art (MOMA) label), 1974 Watercolor on paper Includes labels from the Museum of Modern Art rental gallery label and Donna Schneier Inc; the artist's name is written on the board, not signed 18 × 23 1/2 inches Unframed This work was removed from the original vintage frame but comes with the back board with the original labels from MOMA Rental Gallery in New York and Donna Schneier Gallery in Manhattan (and later Palm Beach) Robert Duran Biography (courtesy of KARMA): Robert Duran (b. 1938, Salinas, CA; d. 2005, New Jersey) found his way from San Francisco to New York City in the mid-1960s, where he became associated with a Minimalist cohort that included Brice Marden, David Novros, and Paul Mogensen...
Category

1970s Abstract Abstract Drawings and Watercolors

Materials

Watercolor

Does not see, does not hear, does not speak -line drawing figure with red gloves
Located in Fort Lee, NJ
Interior design paintings. Does not see, does not hear, does not speak. The artwork was done with watercolor on watercolor paper 360g. The works are 15 by 11 inches in size, framed (...
Category

2010s Abstract Abstract Drawings and Watercolors

Materials

Paper, Watercolor

"Glyphs II" Abstract Painting 20" x 28" inch by Ahmed Yousry
Located in Culver City, CA
"Glyphs II" Abstract Painting 20" x 28" inch by Ahmed Yousry Medium: ecoline on paper Ahmed Yousry was born in Alexandria in 1993. In 2017, he graduated from the Faculty of Fine Ar...
Category

21st Century and Contemporary Abstract Abstract Paintings

Materials

Paper, Watercolor

Nashville is an Enigma, mixed media painting by renowned female artist, signed
Located in New York, NY
Katherine Porter Country Music (Nashville is an Enigma), 1986 Mixed media; colored pencil, gouache, and graphite on paper, uniquely signed and inscribed with Nashville dateline Hand ...
Category

1980s Abstract Abstract Drawings and Watercolors

Materials

Mixed Media, Gouache, Color Pencil, Graphite

Modern British 20th Century Colourful Abstract Painting - Geometric shapes
Located in Cirencester, Gloucestershire
Abstract Composition British School, monogrammed/ dated lower corner gouache painting on paper laid over card, unframed actual painting: 22 x 15.5 inches Superb - bold - and very co...
Category

Late 20th Century Abstract Geometric Abstract Paintings

Materials

Gouache

Connecticut Hills
Located in Miami, FL
This later work by Lyonel Feininger approaches almost full abstraction. It was executed in 1950 at a crucial moment in American art history. Abstract Expressionism and non-representational art were in full gear and taking the world by storm. Yet Feininger who was associated with the German expressionist groups: Die Brücke...
Category

1990s Abstract Expressionist Abstract Drawings and Watercolors

Materials

India Ink, Watercolor

Surrealist composition by José Gerson n°5 - Drawing 37x60 cm
Located in Geneva, CH
Work on paper without frame
Category

1980s Surrealist Abstract Drawings and Watercolors

Materials

Color Pencil

Biogram to the Pharmacy in Anaheim (Abstract, Bold, Figurativ, Collage, 40% OFF)
Located in Kansas City, MO
Kory Twaddle Biogram to the Pharmacy in Anaheim (Abstract, Bold, Figurativ, Collage) Mixed Media Collage on Heavy Paper Year: 2020 Size: 22 x 28.25 inches (55.88 x 71.75 cm) Signed, ...
Category

2010s Contemporary Abstract Drawings and Watercolors

Materials

Paper, Mixed Media

Dinosaur Me & Baby
Located in London, GB
'Dinosaur Me & Baby' abstract composition, mixed media on soft board, Japanese ink, oil, pencil and gouache by Erez Yardeni (2018). The scribblings of a c...
Category

2010s Abstract Abstract Drawings and Watercolors

Materials

Ink, Oil, Gouache, Board, Pencil

Abstract Composition - Pastel by Giorgio Zennaro - 1969
Located in Roma, IT
Oil Pastel on paper realized in 1969. Hand signed and dated in pencil lower right. Hand dedicated, signed and dated (1971) on rear. Includes a wooden frame cm. 43.5x52.  Very goo...
Category

1960s Modern Abstract Drawings and Watercolors

Materials

Pastel

"Water Music Manuscript" John Cage, Composer, Music, Fluxus, Conceptual Music
Located in New York, NY
John Cage Water Music Manuscript, 1952 Dated "Spring 1952" lower right Ink on paper 10 3/4 x 16 1/2 inches Provenance The artist Gifted to Carolyn R. Brown, New York Estate of the a...
Category

1950s Conceptual Abstract Drawings and Watercolors

Materials

Paper, Ink

Synchromist Abstraction watercolor by Jay Van Everen
Located in Hudson, NY
Jay Van Everen was a pioneering early American abstractionist known for his affiliation with the Synchromists. His abstract color studies would take him to the forefront of the Ameri...
Category

1920s Modern Abstract Drawings and Watercolors

Materials

Paper, Ink, Watercolor

Uncertainty
Located in Zofingen, AG
In Uncertainty, Iryna Burda delicately yet uncompromisingly explores the fragile, unstable state between decision and helplessness, between motion and stillness. This work is not mer...
Category

2010s Realist Abstract Drawings and Watercolors

Materials

Archival Paper, Carbon Pencil

Original 70's Hand Painted Textile Design Gouache botanical style on White Paper
Located in ALCOY/ALCOI, ES
Abstract Expressionist design. Sealed on the back with the design studio name and number . Ilegible signature We offer a small number of these original illustration designs by this ...
Category

1970s Abstract Abstract Drawings and Watercolors

Materials

Paper, Gouache

Abstract Watercolor Painting, 'Design for Land', C. 1997 by David Ruth
Located in Oakland, CA
This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...
Category

1990s Abstract Expressionist Abstract Paintings

Materials

Paper, Watercolor

Untitled - Drawing by Fred Bugs - 2024
Located in Roma, IT
Fred Bugs (1997) Untitled 21x30 cm Mixed media on paper Year: 2024
Category

2010s Abstract Abstract Drawings and Watercolors

Materials

Mixed Media

Fig. 9 BASE VERDE, NARANJA and BASE, Triptych. From The Dibujar el Tiempo Series
Located in Miami Beach, FL
Fig. 9 BASE VERDE, NARANJA and BASE, Triptych, 2025 by Rodrigo Spinel From The Dibujar el Tiempo Series Indian ink on 350g Strathmore Bristol paper Overall Frame size: 73.4 H x 174....
Category

2010s Abstract Abstract Drawings and Watercolors

Materials

Paper, India Ink

Abstract Policeman in Village - Mid 20th Century Mixed Media by George De Goya
Located in Watford, Hertfordshire
Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...
Category

1950s Abstract Abstract Paintings

Materials

Paper, Charcoal, Pastel, Mixed Media

Handwritten Letter to the Artist's Parents (unique hand signed postcard franked)
Located in New York, NY
Carl Andre Handwritten Letter to the Artist's Parents, 1974 Letter handwritten with black marker on postmarked, stamped postcard (hand signed by Carl Andre) Boldly signed @ - the art...
Category

1970s Minimalist Landscape Prints

Materials

Permanent Marker, Offset, Postcard, Lithograph

Silver Pencil Shape (Bourgognone) - Original Contemporary Abstract Drawing
Located in Boston, MA
"Silver Pencil Shape (Bourgognone) 17.0 x 14.0 x 0.2, 0.5 lbs Acrylic paint on archival paper Hand signed by the artist Artist's Commentary: ""This is a drawing made with acrylic ...
Category

21st Century and Contemporary Abstract Abstract Drawings and Watercolors

Materials

Acrylic

Mountain Reverie Series 5, Abstract Painting
Located in San Francisco, CA

Artist Comments
Artist Siyuan Ma shares an ethereal outlook of a snowy mountain range with an abstract approach. After the rain, sunlight shines on t...

Category

21st Century and Contemporary Abstract Abstract Drawings and Watercolors

Materials

Watercolor

Prelude to Transition
Located in Fairlawn, OH
Prelude to Transition Pastel on paper, 1953 Signed and dated lower left (See photo) Image size: 10 1/2 x 13 3/4 inches Frame size: 24-5/8 x 1-1/2 inches Exhibited and Illustrated: Z...
Category

1950s Abstract Abstract Drawings and Watercolors

Materials

Pastel

In a State of Depression...
Located in Zofingen, AG
Title: In a State of Depression… Gallery Description: In this piece, Iryna Burda immerses the viewer in the fragile space of the inner world of a person engulfed by depression. She ...
Category

2010s Realist Animal Drawings and Watercolors

Materials

Archival Paper, Carbon Pencil

Rainbowland Blooms #2 - Colorful Abstract Floral Painting on Paper
Located in Los Angeles, CA
Xiao Wen Xu is a Chinese-born Canadian artist based in Toronto, Canada, Her artistic practice is deeply influenced by her profound appreciation for the natural world. In her series, ...
Category

2010s Contemporary Mixed Media

Materials

Paper, Watercolor, Gouache

Original 70's Hand Painted Textile Design Gouache abstract morden White Paper
Located in ALCOY/ALCOI, ES
Abstract Expressionist design. Sealed on the back with the design studio name and number . Ilegible signature We offer a small number of these original illustration designs by this ...
Category

1970s Abstract Abstract Drawings and Watercolors

Materials

Paper, Gouache

Italian Contemporary Art by Fred Borghesi - Whatever Man
Located in Paris, IDF
Watercolor and collage on paper Fred Borghesi is an Italian artist born in 1987 who lives and works in London, UK. He is above all a multidisciplinary a...
Category

2010s Abstract Drawings and Watercolors

Materials

Paper, Watercolor

Abstract Homage to Alexander Calder.
Located in Cotignac, FR
Modern abstract pastel on paper, the work is signed to the back of the paper, Djoklevic. A bright and colourful abstract pastel in the style of Alexander Calder. It could be an inte...
Category

Late 20th Century Abstract Abstract Paintings

Materials

Pastel

Georgian Contemporary Art by Dali Nazarishvili - Lake
Located in Paris, IDF
Watercolour on French paper Framed, 50 x 60.5 x 1 cm, paper frame Dali Nazarishvili is a Georgian female artist born in 1958 who lives and works in Tbilisi, Georgia. Since 2001, she...
Category

2010s Abstract Drawings and Watercolors

Materials

Paper, Watercolor

Georgian Contemporary Art by Dali Nazarishvili - Sunset
Located in Paris, IDF
Watercolour on paper Framed, 39 x 51.5 x 1.5 cm (Plastic brown frame with gold) Dali Nazarishvili is a Georgian female artist born in 1958 who lives and works in Tbilisi, Georgia. S...
Category

2010s Abstract Drawings and Watercolors

Materials

Paper, Watercolor

Belarusian Contemporary Art by Dasha Buben - Conversations with my Inner Child
Located in Paris, IDF
Color pencils on paper Framed 40x 50 cm Dasha Buben is a Belarusian artist born in 1982 who lives and works in Warsaw, Poland. She graduated from the Belarusia...
Category

2010s Abstract Abstract Drawings and Watercolors

Materials

Paper, Color Pencil

Indian Contemporary Art by Sumit Mehndiratta - Drawing No. 421
Located in Paris, IDF
Indian ink and acrylic paint on archival paper, artwork will be shipped rolled up in a tube Sumit Mehndiratta is an Indian artist born in 1986 who lives & works in New Delhi, India....
Category

2010s Abstract Abstract Drawings and Watercolors

Materials

Acrylic, India Ink, Archival Paper

Abstract - Original Watercolor by Charles Boggs - 1970s
Located in Roma, IT
"Abstract" is an original watercolor drawing on ivory-colorated cardboard by Charles Boggs (1921). In excellent conditions. Hand-signed, Boggs, on the...
Category

1970s Abstract Abstract Drawings and Watercolors

Materials

Watercolor, Cardboard

German Neo Expressionist Graphite Pencil Drawing Erwin Pfrang Nolan Gallery NYC
Located in Surfside, FL
Erwin Pfrang, German (b. 1951) Graphite Pencil on paper Framed 20 X 20.5, sheet 12.5 X 13 Hand signed lower left Erwin Pfrang (born 1951, in Munich) is a German painter and printma...
Category

Early 2000s Neo-Expressionist Figurative Drawings and Watercolors

Materials

Paper, Pencil, Graphite

"Buck a Shuck" 2024, ink and colored pencil on paper
Located in New York, NY
Maeve D'Arcy Buck a Shuck, 2024 ink and colored pencil on paper 22 x 30 in. (dar146)
Category

2010s Contemporary Abstract Drawings and Watercolors

Materials

Paper, Ink, Color Pencil

"Cubic Crystal System" - acrylic, crayon, and pencil on paper
Located in New York, NY
Maeve D’Arcy practice explores mark-making as language. In a contemplative process, her random thoughts are turned into dashes, x’s, dots and various sorts of repetitive marks. D'A...
Category

2010s Abstract Abstract Drawings and Watercolors

Materials

Acrylic

WOP 2 - 00666
Located in Phoenix, AZ
mixed media on paper; unframed signed lower right Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create mysterious, veiled landscapes illuminated wi...
Category

2010s Minimalist Mixed Media

Materials

Paint, Paper, Mixed Media, Archival Paper

Journey Within 73, 74 and 75 Triptych. From The Journey Within Series
Located in Miami Beach, FL
Neerja Chandna Peters enjoys navigating harmony through the play of lines with their symmetrical synchrony and rhythmic interplay, manipulating the nuances, their saturation and thei...
Category

2010s Contemporary Abstract Drawings and Watercolors

Materials

Paper, Pen

Larry Zox "Teal Top" Drawing, 1966
Located in Toronto, Ontario
Larry Zox (1937-2006) was a central figure in the evolution of 20th century abstraction in America. Raised in Des Moines, Iowa, Zox studied at the University of Oklahoma and went on to work under the tutelage of modernist Georg Grosz at the Des Moines Art Centre. Zox moved to New York City and established his reputation by the mid 1960's. His studio was located on 20th Street and he was surrounded and inspired by a melting pot of jazz artists, bikers, and boxers. Zox was one of the most successful practitioners of hard-edge or geometric abstraction and not surprisingly was championed by Frank Stella, amongst others. By the mid 1960's, Zox arrived at his most recognized style, utilizing hard-edge shapes in bold colors to create geometric patterns, which were often realized on raw canvas. Zox's hard-edge geometric creations from the late 1960's and early 1970's are arguably the most recognizable works from his oeuvre. Fittingly he had a retrospective at the Whitney Museum in 1973, that focused on such work. Today, numerous museums including the Whitney, the MoMA, the Tate and the Metropolitan all have examples of his work from this era in their permanent collections. While Zox is not directly associated with the Op Art movement, many of his works by nature of their patterns and colors create visual illusions in dimensionality. In "Mosaic" the kelly green band that intersect the composition helps give the overall work an appearance of a slanted stair. Frequently the artist seems to be inviting the viewer to find pattern within the work. In "Mosaic" we have both areas of synergy and dissonance. Can you find them? Questions about this piece? Contact us! Teal Top...
Category

1960s Abstract Geometric Abstract Drawings and Watercolors

Materials

Paper, Mixed Media

The Dead Tiger
Located in Fairlawn, OH
The Dead Tiger Ink and watercolor on paper, 1955 Signed and dated in ink (see photo) Condition: Aging to the entire sheet (it's 78 years old) Image/Sheet size: 18 1/4 x 23 inches On...
Category

1950s Abstract Abstract Drawings and Watercolors

Materials

Watercolor

Abstract composition - acrylic on paper in beige, gray, pink salmon color, 2023
Located in Fort Lee, NJ
Interior design paintings. The work was done with acrylic in beige, pink salmon and grey color on a paper. Each work is 24 by 18 inches in size, framed (gold). Mila Akopova is New Y...
Category

2010s Abstract Geometric Abstract Paintings

Materials

Paper, Oil Crayon, Acrylic

British Impressionist Painting Sleepy Town
Located in Cirencester, Gloucestershire
Frank Duffield (British, 1908-1982) original watercolour painting on board, unframed size: 12 x 15 inches condition: overall very good, minor wear to the edges as is normal for an un...
Category

Mid-20th Century Impressionist Landscape Drawings and Watercolors

Materials

Watercolor

"Composizione astratta turchese" Olio su carta cm. 26 x 20 1950 ca
Located in Torino, IT
Opera su carta olio, di DORA Maar Colore Turchese blu Timbro MD atelier Siglato sul retro
Category

1950s Abstract Abstract Drawings and Watercolors

Materials

Paper, Oil

Indian Contemporary Art by Sumit Mehndiratta - Composition No. 385
Located in Paris, IDF
Acrylics on Yupo paper Sumit Mehndiratta is an Indian artist born in 1986 who lives & works in New Delhi, India. He has pursued Master of Scienc...
Category

2010s Abstract Abstract Drawings and Watercolors

Materials

Acrylic

Abstract drawing n°9 by Julien Dinou - A4 size
Located in Geneva, CH
Drawing on paper without frame Size A4
Category

1960s Abstract Abstract Drawings and Watercolors

Materials

Oil Pastel

Handwritten letter from Amsterdam the artist's sister (Hand signed postcard)
Located in New York, NY
Carl Andre Handwritten letter from Amsterdam the artist's sister, 1982 Postmarked Postcard Hand addressed, handwritten and hand signed by Carl Andre. Letter is postmarked from Amster...
Category

1980s Minimalist Abstract Drawings and Watercolors

Materials

Ink, Mixed Media

"Friendly Reminder" 2024 ink and colored pencil on paper
Located in New York, NY
Maeve D'Arcy Friendly Reminder, 2024 ink and colored pencil on paper 22 x 30 in. (dar147)
Category

2010s Contemporary Abstract Drawings and Watercolors

Materials

Paper, Ink, Color Pencil

Unique SIGNED Abstract Expressionist drawing major WPA artist, Estate issued COA
Located in New York, NY
WILLIAM BAZIOTES Untitled Abstract Expressionist Mid Century Modern ink drawing with Estate COA, ca. 1955 Ink Drawing on Paper Signed lower right recto. Accompanied by letter of aut...
Category

Mid-20th Century Abstract Expressionist Abstract Drawings and Watercolors

Materials

Ink

Pre-War Abstraction - Modernism - Tan Bronze Tope - Nonrepresentational
Located in Miami, FL
Pioneering female abstract artist Elsie Driggs paints stylized abstract organic forms in a warm palette of orange browns and tope. She merges abstraction with some figuration. A structured face composed of lines and tone emerges from an orange background. It's 1939, and even though Driggs is not well known, she is preceding many of the marquee names of abstraction by a decade. Although under the radar, this is a major work and is titled on the back stretcher is " Egyptian Gothic." It features the artist's inventiveness with her fine pencil lines incorporated in flat washes of color and collage elements. Signed lower right and inscribed on frame verso with title, artist and the date of 1939. Provenance, Christie's, Freemans. Framed under glass.. Elsie Driggs (1898 – July 12, 1992 in New York City) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism, and for her later floral and figurative watercolors, pastels, and oils. She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape. Her works are in the collection of the Whitney Museum of American Art, the Houston Museum of the Fine Arts, the Fine Arts Museums of San Francisco, the James A. Michener Art Museum in Pennsylvania, and the Columbus Museum of Art, among others. She was married to the American abstract artist Lee Gatch. Career Born in Hartford, Connecticut, Driggs grew up in New Rochelle, a suburb of New York City, in a family that was supportive of her artistic interests. After a summer spent painting with her sister in New Mexico in her late teens, she felt she had found her life's calling. At twenty, she enrolled in classes at the Art Students League of New York, where she studied under George Luks and Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration.[1] Driggs eventually settled in New York City, where she found representation with the progressive Charles Daniel Gallery.[2] (Advised that the old-fashioned and misogynistic Daniel would be unlikely to take on a woman artist, she signed the works she left for his consideration simply "Driggs" and waited to meet him in person until he had expressed his eagerness to include her in his gallery.)[3] In sympathy with those artists Daniel represented who were part of the burgeoning Precisionist movement, such as Charles Demuth, Charles Sheeler, George Ault, Niles Spencer, and Preston Dickinson, she too painted "the modern landscape of factories, bridges, and skyscrapers with geometric precision and almost abstract spareness."Impressionism and academic or Ashcan realism represented the past, in Driggs' view, and she intended to be resolutely modern. She was an attractive and engaging woman, but her demeanor belied a strong ambition and a clear sense of what it would take to make her mark in the New York art world. Driggs was part of the pre-eminent first group of Precisionist painters, including Demuth and Sheeler, who exhibited at the Daniel Gallery in the 1920s. Although a later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s, Driggs felt that the style came to an end with the 1929 stock market crash.[5] In 1926 she painted her most famous work, Pittsburgh, a dark and brooding picture now in the permanent collection of the Whitney Museum of American Art, which depicts the gargantuan smokestacks of the Jones & Laughlin steel mills in Pittsburgh. Its focus is an overpowering mass of black and gray smokestacks, thick piping, and crisscrossing wires with only clouds of smoke to relieve the severity of the image, yet it was an image in which she found an ironic beauty. She called the picture "my El Greco" and expressed surprise that viewers in later years interpreted the painting as a work of social criticism. Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present. If anything, Precisionism, like Futurism, was a celebration of man-made energy and technology. One year later, she painted Blast Furnaces, in a similar vein. As noted above, Piero della Francesca's mural depicting "The Story of the True Cross" in Arezzo, with its tubular, static and frozen forms was the major influence on Driggs' "Pittsburgh" (it may have been the major influence for "Blast Furnaces" as well).[7] After Pittsburgh, Driggs' most acclaimed work was probably Queensborough Bridge...
Category

1930s Mixed Media

Materials

Paper, Watercolor, Pencil

"Envelope Scribbles" Robert Indiana, Pop Art, Correspondence, Artist Letter
Located in New York, NY
Robert Indiana Envelope Scribbles , 1975 Dated upper right Ink on paper 4 1/4 x 9 1/2 inches Provenance Gifted by the artist, Vinalhaven, Maine Private collection, Maine. Private Co...
Category

1970s Pop Art Abstract Drawings and Watercolors

Materials

Paper, Ink

"Love Pen Drawing" Robert Indiana, Pop Art, Letters, Preparatory Drawing
Located in New York, NY
Robert Indiana Love Pen Drawing Signed lower left Artist's marker and ink on paper 6 3/4 x 8 1/2 inches Provenance Gifted by the artist, Vinalhaven, Maine Private collection, Maine....
Category

2010s Pop Art Abstract Drawings and Watercolors

Materials

Paper, Ink, Permanent Marker

Untitled
By Anton Rooskens
Located in Greenwich, CT
Untitled exemplifies Rooskens’ work from the period following 1965, a time when the artist continued to explore fantastical beings, mask- and shield-like imagery, firmly rooted in hi...
Category

1960s Abstract Abstract Drawings and Watercolors

Materials

Paper, Gouache

Abstract Blue Composition, Abstract Watercolor and Pastel by Paul Kohn
Located in Long Island City, NY
Paul Kohn - Abstract Blue Composition, Year: 1970, Medium: Watercolor and pastel on paper, signed and dated in pencil lower right and on verso, Size: 8.25 x 11 x 2.75 in. (20.96 x...
Category

1970s Abstract Abstract Drawings and Watercolors

Materials

Pastel, Watercolor

"Fish"
Located in Lambertville, NJ
Jim’s of Lambertville is proud to offer this artwork by: Ramstonev Co-operative Project (1937 - 1939) In the late 1930s, Charles Ramsey became close friends with Charles Evans and ...
Category

1930s Abstract Abstract Drawings and Watercolors

Materials

Paper, Pastel

Two women dancing indoors
By Jose Caballero
Located in Genève, GE
Work on paper Golden wooden frame with glass pane 68.5 x 57.5 x 4 cm
Category

Late 20th Century Abstract Abstract Drawings and Watercolors

Materials

Watercolor, Gouache

1959 Black & White Mid-Century, Surrealist Abstraction by Artist Desmond Mclean
Located in Chicago, IL
A 1959 black and white, Mid-Century, Surrealist watercolor on paper by artist Desmond McLean in a cerused black frame. Image size: 15 1/2" x 22 1/2". Framed size: 25" x 21". McL...
Category

1950s Surrealist Abstract Drawings and Watercolors

Materials

Watercolor

Josette Urso "Sea Chain" Water Color on Paper
Located in New York, NY
Of her recent works, Urso states, "I make exploratory paintings, working in response to my immediate environment. My approach involves moment-to-moment extrapolation governed by intu...
Category

2010s Abstract Abstract Drawings and Watercolors

Materials

Watercolor

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