Oversized Abstract Drawings and Watercolors

The kaleidoscope of colours and the dynamic form of nature are expressed in this joyful celebration of nature. Rendered in right red, yellow, blue, green, orange and yellow—the colou...

Kenneth Marcus Hugh (American, 1916-2011) Big Town Watercolor on paper Signed lower left 48 in. h. x 60 in. w., image 48.5 in. h. x 60.5 in. w., framed Kenneth Marcus Hugh was born ...

This contemporary geometric abstract drawing has a beautiful, soft mottled texture created with Judge's unique powered pigment technique. Blue Opus Series 8 is a predominately blue m...

Fig. 9 BASE VERDE and NARANJA, Diptych, 2025 by Rodrigo Spinel From The Dibujar el Tiempo Series Indian ink on 350g Strathmore Bristol paper Overall Frame size: 73.4 H x 116.2 W x 3...

A large minimal abstract painting on paper by Yasmin Brandolini. Artist: Yasmin Brandolini d'Adda, South African/Italian (1929 - ) Title: 17 Year: 1986 Medium: 40 x 60 in. (101.6 ...

"Unfolding #3" is an original piece by Yoonmi Nam made from pressure printed monotypes featuring layers of unfolded package outlines, creating dimension and abstraction. This piece m...

Urszula Wilk – artist statment: I have always been interested in the idea of infiniteness of a painting and its opposite – that is the physical finiteness of the painting. This phys...

Work signed on front and back It is sent in a tube

Frammento Casa di Famiglia Title: Fragment Artist: Marilina Marchica Dimensions: Artwork: 70x110 cm Frame: 80x120 cm Description: This is an original, non-reproducible piece by Mar...

Untitled #7, 2016 Wax crayon on paper 78 7/10 × 59 1/10 in 200 × 150 cm Signed on reverse Berszán tries to bring forward the moment of the brutal unbinding between “I” and the “oth...

Vivian Springford Untitled (Rice Paper Mounting), 1963-65 Signed lower left Ink, watercolor and acrylic on rice paper laid to canvas 27 1/4 x 53 3/8 inches A contributor to Abstrac...

Gestural abstract expressionist painting on archival paper mounted to panel with gold and silver metallic powders and accents of blue, mauve, and teal enamel paint "Involved and Obsc...

A magnificent work in Indian ink and "levi" ink, counter glued on strong paper and accompanied by a certificate from the Zao Wou-Ki Foundation. Zao Wou-Ki was born in Beijing on 1 F...

This piece is an abstract botanical work on paper featuring hues of dark blue and tan. It is framed in a simple white box frame behind UV Plexiglas. The unframed work measures 60 by ...

Gestural abstract painting on paper with gold metallic powders and peach, blue, green and yellow colored enamel paint "Beyond Mind and Matter", made in 2022 by Hudson Valley painter,...

Oil on canvas Xia Fu-Ning is a Chinese artist born in 1962 in Nanjing. He was a professor in the Department of Fine Arts during the 1980s at Tianjin Polytechnic University. He curre...

In this work, I have used acrylic and enamel to capture the vast and mysterious beauty of the universe. Abstract swirls and galaxies represent constant evolution and cosmic dynamism....

Large abstract geometric painting with intricate line work in pencil and gouache on a bright yellow background "Specifically, Nowhere (Yellow)" made by Hudson Valley artist, Donise English, in 2022 gouache, acrylic, pencil, and colored pencil on paper, mounted on panel 48 x 48 inches unframed, 50 x 50 inches with a dark brown stained wood floater frame Surface is protected with four coats of an archival UV protective varnish Signed, verso Excellent condition and ready to hang This large abstract geometric painting was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a bright yellow background overlaid with intricate line work in graphite and colored pencil. Thousands of hand drawn lines serve as a backdrop for a bold geometric form in a dusty violet and dark gray gridded pattern that references "an imagined city grid", says the artist. The painting on paper is mounted to wood panel and complemented with a dark stained wood floater frame. It's in excellent condition and ready to hang as is. The surface is protected with four coats of an archival UV protective varnish. More about the work: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

'Midcentury Biomorphic Abstract', NYMoMA, Paris, XXXII Venice Biennale, MALI, Lima, Peru Signed, lower right, 'E.R. Larrain' for Emilio Rodríguez Larraín (Peruvian, 1928-2015), and inscribed 'Roma, Nov 1963, Enero 1964'. (Rome, Nov 1963-January 1964). Verso titled, "L'Homme C'est Sujet à Errer" (Man Tends to Wander), and bearing the artist's self-portrait in india ink and wash. Exhibited: XXXII Venice Biennale, 1964. (original exhibition label verso) Previously with Staempfli Galleries, New York. This painting is registered in the Archives of American Art as 'Staempfli Gallery, inventory #775'. A monumental and historically distinguished work by this groundbreaking Peruvian Modernist who drew inspiration from Peruvian indigenous and pre-colonial culture. The paintings of Emilio Rodríguez Larraín are held in the permanent collections of museums worldwide including the Musée de la Ville de Paris, Peru's Museo de Arte de Lima and the Museum of Modern Art in New York. This painting was selected by the Peruvian Government for exhibition at the XXXII Venice Biennale in 1964 and is the largest single recorded work by the artist. Emilio Rodríguez Larraín received his Bachelors of Architecture in 1949 from Peru's Universidad Nacional de Ingeniería and held his first solo exhibition in Lima after visiting Europe in 1950. In 1951, he returned to Europe in the company of the artists Alfredo Ruiz Rosas and Joaquín Roca Rey...

"Behold" by Halsey Chait India Ink on 250 Lenox 100 Cotton Rag Paper Halsey Chait's drawings develop according to the rules and mathematics that govern the growth processes of life ...

This contemporary geometric abstract drawing has a beautiful, soft mottled texture created with Judge's unique powered pigment technique. The ordered symmetry of the layered diagonal...

This piece titled "said the zinnia" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This diptych piece m...

About the Series: “Sensitive Material” In this Work on Paper Series, started in 2020, Claire Gilliam continues her exploration of Visual Language. She uses a common motif, the Latin ...

Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. The artwork is unframed and will be shipped rolled in a tube Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Spring Light (Green) (Abstract Painting) Acrylic on wood board — Unframed. Emma Godebska is a French abstract artist living in Nimes, France. Her use of natural pigments, reflectiv...

Carborundum etching on hand made paper. Hand signed lower front by Roberto Matta. Edition 111/125. Published by Nordstamp. Artwork is in overall excellent condition. Certificate...

Michael Heizer III-8 (two pages), 1983 Monoprint on two individual sheets of white handmade TGL paper, hand colored with colored pencils, paint sticks, and liquid and spray acrylic p...

Gestural abstract painting on paper with gold metallic powders and cobalt blue, pastel green, and rust colored enamel paint "New Looking Methods", made in 2022 by Hudson Valley paint...

Larry Zox Dexter's Choice, State II, ca. 1990 Mixed media, Watercolor pochoir, and Oil stick Wax, Water-Based Crayons, on heavy Arches museum watercolor rag paper with deckled edges 40 × 60 in 101.6 × 152.4 cm Edition 8/30 (unique variant) Frame included Measurements: Sheet: 40 inches (vertical) by 60 inches (horizontal) Frame: 42 inches x 62 inches x 1 inch Dexter's Choice, State # II is a unique, mixed media work from an edition of 30 unique variants done in pochoir, (25 stencils, 14 colors). Here, Zox uses watercolor instead of inks, which is applied to heavy 300 lb. watercolor paper. Although it is a multiple signed and numbered from the edition of 30, each work of art is unique because of how the paper receives the watercolor brush. In addition, this work is created like a mixed media painting because it has 11 lines added by hand with wax and water based crayons and oil sticks. The unique watercolor technique that Zox employed in making "Dexter's Choice" is documented in the textbook, "Screen Printing: Water Based Techniques,Roni Henning, NYIT ". Dexter's Choice was published by Images Gallery, and this work was acquired directly from the publisher before they sold out. This work is elegantly floated and framed in a white wood frame. Accompanied by gallery issued Certificate of Guarantee Larry Zox Biography: A PAINTER who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions that question and violate symmetry.1 Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using
a mechanical format with X number of possibilities.”2 What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–1974 solo exhibition at the Whitney Museum of American Art.3 Zox’s robust paintings reveal
a celebrated artist and master of composition who is explored and challenged the possibilities of Post-Painterly Abstraction and Minimalist pictorial conventions. Zox began to receive attention in the 1960s when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Solomon R. Guggenheim Museum, New York. In 1973–1974, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum and Sculpture Garden, Wahsington, DC, which acquired fourteen of his works.
 Zox was born in Des Moines, Iowa in 1937. He attended the University of Oklahoma and Drake University, Des Moines, Iowa, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers, and he occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. In his earliest works, such as Banner (1962) Zox created
collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. In paintings such as For Jean (1963), he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times in 1964 wrote of the works in show such as Rotation B (1964) and of the artist: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.”4 In 1965, he began the Scissor Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of the vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

Skyscapes Series - Large Scale Landscape in Pastel on Paper Brightly colored Dry Pastel abstract landscape by Aleah Koury (American, b. 1959). ...

Landscape Black ad white abstract drawing mineral oxide on paper ( Canson Montaval Paper 300 gr.) large size 75x110 Frame Size 122 x91 cm by Marilina Marchica signed with certificate...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative takes the audience on a journey into the imagination. In October 2023 Isabel won the Evelyn Williams Drawing Award at the Trinity Buoy Wharf Drawing Prize. Known as the UK’s most prestigious annual open exhibition for drawing; part of the prize is a solo show at Hastings Contemporary, scheduled for 2024. Whilst Isabel always has a tale to tell for each of her images, you may or may not choose to go on the journey with her or you may indeed have a different story, one of your own that jumps off the page at you and you decide to follow. Artwork Details: Isabel Rock , 'Just another Day in Paradise', mixed media on best archival paper, 85cm x 140cm, unframed, 2022 In Rock's own words, 'It was just another day in Paradise for the Pink Poodle People of the Everlasting Fountain of Eternal Joy. Since every day was Paradise it was just another normal day filled with love, ecstasy and wonder. It started slowly at first, things began to appear in paradise, strange objects that the Pink Poodle People did not know what to do with. Some had sharp edges, others were so and smelt strange, bad strange. Some things glittered and shone. Every day more of these objects would arrive in Paradise. ' If this happens every day then soon Paradise will be full of these strange objects. Some of them are nice but many are bad and smelly. One day there will be no Paradise, only bad, sharp and smelly things.' But the Pink Poodle People did not know what to do with the objects and every day more arrived.' Artwork Provenance: from the Artist Studio A certificate of authentication comes from Gallery Art 1821 photo credits, Isabel working, black and white shots, James Brown About Isabel Rock and her work: Taking inspiration from Japanese woodblock prints and Indian miniature painting Rock has developed a unique collage technique that combines bold structures with large-scale woodblock prints and intricate detailing. The subject is a grand mixture of humour, drama, hidden morals, fanciful characters, modern culture, mythical beings and fantastical situations. Rock creates a world that pulls you in and demands your attention. Quality of line is paramount, the drawings are created using a dipping pen and acrylic ink. An essential tool is a squirrel...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Boogie Woogie II, 1993 Peter Ambrose (American, b. 1953) Charcoal on Paper Signed and Dated Lower Right Titled Lower Left 41 x 29 inches 46.25 x 34.25 inches with frame BORN 1953 New York, NY EDUCATION 1977 MFA, The School of Art Institute of Chicago 1975 BFA, Carnegie Mellon University 1974 Yale University, Summer School of Art and Music TEACHING EXPERIENCE 1983 Visiting Artist, 2-D, 3-D Design and Graduate Advisor, Carnegie Mellon University 1995-96 Independent Study in Exhibition installation, art handling, restoration, Saint Louis University 1998 Adjunct faculty, Sculpture, Saint Louis University SELECTED SOLO EXHIBITIONS 1999 Elliott Smith...

This piece titled "an ancient conversation" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece m...

'Lily in Charcoal' 2023 From raw energy to sublime. 'Lily in Charcoal' is an expression piece combining an abstract charcoal drawing with a live lily emerging from a gash. The charc...

Gestural abstract painting on paper with accents of blue, dark gray, and teal underneath silver and gold metallic powders "Seeing the Past", made in 2022 by Hudson Valley painter, Br...

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 14 by 11 inches in size, framed (...

Kenneth Noland Untitled, 1987 Monotype with hand painting on wove paper Hand signed and dated with artist's copyright in pencil on the back; also with the blind stamp/chop mark lower...

Wolf Kahn Bay with Boats, 1987 Color monotype on Somerset white wove paper Hand signed and dated by Wolf Kahn on the lower right front, bears labels on the back Frame Included: matte...

A painting by Alexander Calder. "The Forest" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks, yellows, and blues by artist Alexander Calder. The artwork is signed lower right, "Calder 72...

Jongwang Lee's paintings challenge a dormant potential he believes lives within all humans. Inspired by Buddhist philosophies of space, Korean ideas of communication with the soul, a...

Interior design paintings. The triptych is made with alcoholic ink in pale pink, turquoise color on Yupo paper. Each work is 11 by 14 inches in size, framed (gold or black) with a s...

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 pa...

Urszula Wilk – artist statment: I have always been interested in the idea of infiniteness of a painting and its opposite – that is the physical finiteness of the painting. This phys...

"Gehl Dairy Farm" is an original mixed media piece by David Barnett and his daughter, Sarah Barnett, signed and dated in the lower right. Begun in 1997 and ...

Figurative abstract cubist style drawing in an antique wood frame, inspired by artwork by Graham Sutherland “Sutherland Project VII” by Hudson Valley artist, David Dew Bruner, made ...

'Lily in Charcoal No.2' 2023 From raw energy to sublime. 'Lily in Charcoal No.2' is an expression piece combining an abstract charcoal drawing with a live lily emerging from a gash....

Acrylic paint with water-soluble Art Graf and graphite heightens the directness of marking in this diptych series on paper. Art Graf comes in tailor’s squares, easily fitting into th...

This framed 42" x 34" landscape painting by Mark Gilmore features a rural scene of a hillside field and an emerging tornado hidden behind a moving rainsto...

Artist: Hirst, Damien Title: In A Spin (Unique) Series: in a spin Date: 2002 Medium: acrylic, crayon, printers inks & pencil on paper Unframed Dimension...

Gestural abstract expressionist painting on archival paper mounted to panel with gold and silver metallic powders and accents of blue, burgundy, green, and purple enamel paint "Invol...

Daniel Brice has exhibited throughout the United States including at The Riverside Museum of Art and the University of New Mexico Art Museum. He is a four-time “Artist in Residence” honoree at the Tamarind Institute in New Mexico. His work is in the collections of Allentown Museum, Ohio Wesleyan University, Smith College...

Untitled, 2016 Black glue on paper (Signed on reverse) 78 7/10 H × 59 1/10 W in 200 H × 150 W cm Berszán depicts in his works the primary turmoil where the violence of the unbinding...

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...

Flowers is a beautiful artwork realized by Maurizio Gracceva in the 2017. Mixed colored ink on paper. Hand signed by the artist. Original title: Fiori Title, date, techinique and ...

Urszula Wilk – artist statment: I have always been interested in the idea of infiniteness of a painting and its opposite – that is the physical finiteness of the painting. This phys...

An extraordinary work from an extraordinary mind expressed through unique imagery, poetry and calligraphy. Simon Lewty (1941-2021) Visions of a non-resident Signed and dated 1988 an...

Ink on paper - Philip Wittmann work is based on signs. Signs are for him an intermediary between abstraction and writing. He started painting 32 years ago, at the age of 26, as an ...

Gestural abstract expressionist painting on archival paper with gold and silver metallic powders and accents of blue, burgundy, and green enamel paint "Platonic Solids...