Medium Abstract Drawings and Watercolors

"Line is the operative formal element in the work shown here, but there are many other lines in play. Pieces walk a line between drawings that might be tapestries or sculptures or p...

Still Life with Fruit Bowl and Water Jug Benjamin Benno, American (1901–1980) Date: 1940 Crayon on paper, signed and dated Size: 13 x 17.13 in. (33.02 x 43.5 cm) Frame Size: 24.5 x 2...

The Amazon Benjamin Benno, American (1901–1980) Date: circa 1940 Colored ink on paper Size: 14.75 x 21 in. (37.47 x 53.34 cm) Frame Size: 22 x 28 inches

Time Travel Black & Gold Glyphs I by Cheryl R. Riley Metallic abstract geometric symbols Gouache and metallic ink on 140# cold press watercolor paper Feminist Art and Contemporary F...

Paper Piece only No frame

Agostino Ferrari was born in Milan on 9 November 1938. He commenced his career as as professional artist in 1959. In 1961 he held his first one-man show at the Galleria Pater, in Mil...

2018 Watercolor and ink drawing on paper 27 x 20 in. (70 x 50 cm) Signed and dated in pencil Unframed, excellent condition

Untitled painting/collage #3 2022 acrylic and painted silkscreen mesh on 140 lb. cold press paper 30x22” unframed blue, green, yellow, white irregular texture surface abstract

Paper only no frame

Paper Piece only No Frame

Paper piece only no frame

Paper piece only no frame

Paper Piece only no frame

Paper Piece only No Frame

Paper Piece only, No frame

Paper Piece only no frame

Untitled painting/collage 2022 acrylic and painted silkscreen mesh on 140 lb. cold press paper 30x22” unframed blue, green, transparent yellow on bright red irregular texture surface...

Nicolas Dubreuille is a multi-faceted abstract artist who likes to multiply mediums - sculpture, painting, drawing, photography - to explore form and colour. His artworks relate to m...

Flock 1 is an original work on paper work by Nigel bird. It is part of a collection of work inspired by sound. “During the time I lived in Southern France, I once had the good fortun...

An Abstract expressionist gouache painting by American artist, Sid Gross. Date: 1959 Gouache on paper, signed and dated lower right Image Size: 18.5 x 12 inches Frame Size: 28 x 22 ...

Nicolas Dubreuille is a multi-faceted abstract artist who likes to multiply mediums - sculpture, painting, drawing, photography - to explore form and colour. His artworks relate to m...

Nicolas Dubreuille is a multi-faceted abstract artist who likes to multiply mediums - sculpture, painting, drawing, photography - to explore form and colour. His artworks relate to m...

Grey Hardware by Josine Vignon (French 1922-2022) signed pastel/watercolor on paper, unframed painting: 25.5 x 19 inches good condition - small rip in paper provenance: from the art...

Gouaches on paper. On the back there are stickers from Sotheby's Auction with the artist's name and the original title "Three faces eight leaves". These are two similar drawings, with the same subject albeit with small differences, and colored with different techniques. Jean Cocteau was a multifaceted artist: writer, playwright, playwright, he also dabbled in the visual arts, loving to experiment with all the avant-gardes of his century. Jean Cocteau published his first book of drawings in 1923, at just 36 years old. In it the poet portrayed his friends Raymond Radiguet, Pablo Picasso, Erik Satie...

About the Series: Gilliam began the series Life Lines in 2017 after recently coming into possession of MRI scans of her brain. The scans, which she spent hours pouring over, both fascinated and horrified her. Gilliam always knew the seriousness of the brain injury suffered as a baby; however, it was the first time she confronted the visual evidence of the injury. Around the same time, she experienced a continuous period of profound familial loss. Both these episodes left her thinking about the body in a new light. This led her to study the biology and physiology of our bodies and the seemingly cruel, capricious way the body can behave, vacillating between strength and fragility. Gilliam began to make drawings from the MRIs recording the brain to understand how its structure and pathways form to activate the circumstances of the individual being we become. As the series has developed, the imagery has dissolved into abstraction, capturing something more existential. The repetitive lines revealed rhythms, and the patterns formed conversations. Ultimately, Life Lines has evolved into a visual story about connections, threading together a human body with its physical, metaphysical, and interpersonal environment. About the Artist: Claire Gilliam is an English photographer, printmaker, painter now based from her home and studio in Warwick, NY. In 1997, she graduated from Sheffield Hallam University in the UK with a BA(Hons) in Fine Art and completed the Professional Certificate in Photography at Rockport College, Maine in 2000. She has studied with photographers such as Arno Minkkinen and John Goodman and master gelatin silver printer, Chuck Kelton and master printmaker, Vijay Kumar. She is an assistant for author and fine art photographer Barbara Mensch. Her works have been shown across Europe and the USA and held in several private and public collections, including The ICP Library Print...

Work on paper without frame

Victoria Barr Spirit, 1974 Crayon on Paper Signed and dated lower right front Frame included Provenance: Fischbach Gallery, New York, NY This bright, abstract 1970s artwork was created by Victoria Barr, daughter of the legendary developer of the Museum of Modern Art, Alfred H. Barr. There is a Fischbach Gallery label on the back of the frame. The Fischbach Gallery was, for many years, the gallery of record for the American artist Alex Katz. It is not easy finding Barr's work on the market at this time. Measurements: Framed: 23 inches x 29.5 inches x .5 inches Artwork: 23 inches x 29 inches Victoria Barr was born in New York, NY, in 1937 to the legendary MOMA curator and art historian Alfred H. Barr, Jr. and art historian Margaret Scolari Barr. Barr often traveled to Europe with her parents from the age of 14 onwards, meeting influential artists like Pablo Picasso, Henri Matisse, and Marc Chagall and collectors like Peggy Guggenheim. For high school, she went to Milton Academy...

"Borders, boundaries, and language, exist throughout my work and have manifested themselves in my sensibilities as an artist. The repetitive mark-making within my practice explores t...

Abstract Portrait of a Woman in Gouache on Paper A vibrant abstract portrait of a woman with raven black hair accented in bold red and yellow, by California-based artist, Ricardo de Silva (American...

The Flower Pot by Josine Vignon (French 1922-2022) signed pastel on paper, unframed painting: 19 x 25 inches good condition provenance: from the artists estate, France Josine Vigno...

For Michal Gavish, multimedia artist and former research scientist, viruses, proteins, and crystals aren’t abstractions—they are figures, objects and nan...

For Michal Gavish, multimedia artist and former research scientist, viruses, proteins, and crystals aren’t abstractions—they are figures, objects and nan...

Nun in the Shadows - Figurative Composition in Acrylic on Paper A dark abstracted portrait by California-based artist, Ricardo de Silva (American/Brazil, 20th C). This piece is abst...

Geometría fractal 3, 2019 by James Bonachea From The Series The memory of narcissus Watercolor on cardboard Image size: 70 cm H x 50 cm W Unframed This series of works stems from t...

Geometría fractal, 2019 by James Bonachea From The Series The memory of narcissus Watercolor on cardboard Image size: 70 cm H x 50 cm W Unframed This series of works stems from the...

Lightbulb Moment Abstract - "Bright Idea" A vibrant abstract painting of a lightbulb in reds accented in yellow and white chalk, by California-based artist, Ricardo de Silva...

Bold Abstract and Figurative Composition in Blue and red Acrylic on Paper Bright and colorful abstracted figural painting by California-based artist, Ricardo de Silva (American/Bra...

Pastel green, blue, gray, and white abstract surrealist drawing by artist T. Moore. The piece depicts a floating book with wings against a lush and serene landscape with a distinct o...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. This one bears the influence of Sam Francis. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

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...

Att: Valter Almeida 2 Margin Street Salem, MA 01970-4005

"My work falls somewhere between abstraction, formalism and narrative painting. I see the content and story when I look at my work, but shape and color are equally important, along w...

Balancing act 2 (Abstract Painting) Gouache, graphite and ink on Rives paper. Unframed. Balancing Act 2 is part of a series of works on paper started in 2016. They are created in the evenings and aptly named after busy days of teaching and other responsibilities. The artist establishes parameters involving the use of a particular palette, certain mark-making gestures and amount of time spent on each drawing. This work incorporates graphite, ink, and gouache, and is a combination of intuition-based and planned execution. Tracey Adams is an American abstract painter and printmaker. Her artworks reflect a strong interest in musical patterns, rhythms, lyrical compositional elements and what she calls a sense of performance. She lives and works in Carmel, California. Work by Adams is part of the permanent collections of several museums, including the Bakersfield Art Museum, the Monterey Museum of Art, the Fresno Art Museum, the Tucson Art...

Acrylic on canvascharcoa

Genre: Modern Subject: Abstract Medium: Watercolor, Chalk Surface: Paper Country: United States Dimensions: not able to determine" x not able to determine" Dimensions w/Frame: 25 1/4...

Darkness, feminin darkness, strength, conflict Graphite pen on paper, pigments, not mounted unless requested for additional price

"My work falls somewhere between abstraction, formalism and narrative painting. I see the content and story when I look at my work, but shape and color are equally important, along w...

"My work falls somewhere between abstraction, formalism and narrative painting. I see the content and story when I look at my work, but shape and co...

Drawing For Color As Adjective-noun 7 (Pink) (Abstract painting) Acrylic on Fabriano-Terra paper - Unframed. "This work is part of a series titled ""Drawing for 3 configurations', ...

Interior design paintings. The artworks were done with acrylic, ink and watercolor in white color on black watercolor paper 360g. The works are 12 by 16.5 inches in size, framed (bla...

“as one with the clouds enfold within still layers... mountains touch the sky” - Carol Brown

A fabulous piece of Inuit history and a compelling drawing of everyday life for an Inuit family. The artwork is also a strong example of a natural understanding of perspective from an artist with no formal art training. The lines and mark-making are interesting both in the fact that we can see the artist working out the image by the faint rubbings out around the animals horns (see image). The lines also appear to reflect Helen's own facial beautifying tattoos; at the time of her death in 1984 was one of the last women to carry the facial tattoos of her group. The drawing was purchased from Professor Leo Bushman, part of the Faculty at the Calgary University. Bushman was helping the Co-op promote Helen Kalvak...

Vintage American modernist abstract drawing. Pencil and graphite on paper, circa 1970. Unsigned. Image size, 31L x 23H. Housed in a period frame.

Viridian Arc is a unique Gouache on Paper artwork. The image is 15 x 15 on 22 x 22 inch archival paper. It is currently framed to 25 x 25. According to Boston Artist, Nancy Simond...

"My work falls somewhere between abstraction, formalism and narrative painting. I see the content and story when I look at my work, but shape and color are equally important, along w...