Oversized Abstract Drawings and Watercolors

By developing a geometry between line and the spaces in between in their work, the four abstractionists featured in Transcendental create a point of departure for the mind into a sp...

In "City-New York" by Dan Muller you can see people dancing, walking, cars driving by, and buildings. Dan Muller's use of mixed media brings to life the chaos and excitement that com...

Eiko Taniguchi Kahn (b. 1929) Untitled, c. 1960s Watercolor on board Each panel: 33 x 11 in. Framed: 45 1/2 x 32 x 1 in. Each panel signed bottom These stunning watercolor panels are beautifully mounted in a period frame. The frame needs some minor restoration but this would be a worthy repair, as it matches the artwork so nicely. Eiko Taniguchi Kahn was Japanese Artist who was born on January 24, 1929 in Fukuoka, Kyushu, Japan, to Tosuke Yamashita and Masano Taniguchi. She came to the United States in 1955, and was naturalized in 1958. She was the recipient of the President's award at the National Arts...

Circus Series: Target is an abstract crayon on paper drawing by Margo Hoff (1910-2008) created in 1980. Abstract composition in vibrant shades of orange, pink, yellow, and blue with ...

Dovetail 5 (Abstract drawing) Charcoal on paper - Unframed. Neill creates works on canvas, linen and paper using a variety of mediums, including graphite, colored pencil, charcoal a...

Circa 1955 abstract charcoal drawing on paper signed by artist Ludwig R. Sander (1906-1975). Presented in a custom frame measuring 32 x 42 x 1 1⁄4 inches. Original drawing measures 21 x 31 1⁄2 inches. Drawing is in very good condition - please contact us for a detailed condition report. About the Artist: Born 1906 Staten Island, New York – Died 1975 New York City The son of a musician, Ludwig Sander was exposed to art as a youngster through visits to the Metropolitan Museum and reproductions of Art Nouveau and the Jugendstil in the Manchester Guardian and in German magazines to which his parents subscribed. Having studied architecture and architectural drawing in high school, he entered New York University in 1924, but left two years later to become a painter. In 1927 he took a four-month trip to Europe, returning to New York for independent study with Alexander Archipenko before entering the Art Students League in 1928 where he studied until 1930 with George Elmer Brown...

'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....

Dovetail 1 (Abstract drawing) Charcoal on paper - Unframed. Neill creates works on canvas, linen and paper using a variety of mediums, including graphite, colored pencil, charcoal a...

Dovetail 1 (Abstract drawing) Charcoal on paper - Unframed. Neill creates works on canvas, linen and paper using a variety of mediums, including graphite, colored pencil, charcoal a...

Landscape BW Mineral Oxide on Canson Paper (300gr) 75x110 cm framed SIZE 92x122cm Ready to Hang this painting is published in the personal exhibition catalogue "The Fragile Space...

David Novros (American, b. 1941) Untitled (Home Savings Study), 1986 Watercolor on paper Framed: 35 1/4 x 86 3/4 x 1 3/4 in. Each panel: 30 x 42 in. From Los Angeles and working fro...

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...

'Lily in Charcoal no.3' 2023 From raw energy to sublime. 'Lily in Charcoal No.3' is an expression piece combining an abstract charcoal drawing with a live lily emerging from a gash....

This geometric drawing has a beautiful, soft mottled texture created with Judge's unique powered pigment technique. The ordered symmetry of the spirograph drawing in reddish brown is...

Observation, 4 Jan 2019 119cm x 49cm Ballpoint pen on paper Chihiro Kabata is a Japanese artist whose drawings and sculptures accumulate delicate ink lines into powerful visions. Ch...

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

Diptych Large Abstract Painting On paper Abstract watercolor on French Arches rag paper artist signed. Framed under plexiglass. Frank Monaco. Studied and worked with Marilyn Stiles of The Art Institute of Chicago/ Art History Painting, Museum Restoration and Preservation, 1972 – 1976 New York...

Lyman Kipp Untitled Abstraction, 1980 Ink roller Painting on Paper Signed and dated by the artist on the front 29 1/2 × 43 1/4 inches Unframed and affixed to original matting This oi...

Clean minimalist incised drawing from artist Sophie Dixon Dillo, whose large-scale installations using light to illuminate sheer walls of thread and filament, have been installed Int...

Clean minimalist incised drawing from artist Sophie Dixon Dillo, whose large-scale installations using light to illuminate sheer walls of thread and filament, have been installed Int...

Margie Hughto Orchid & Red, 1983 Dyed Handmade paper Hand signed and dated by the artist on the lower right front. Titled on the back. Unique Frame Inclu...

Black and white abstract charcoal drawing by Houston artist Paul Forsythe. The work features a large, abstract, organic shape in the upper right corner of the composition. Currently ...

Nordic waves Acrylic, charcoal, oil pastel and graphite on paper - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a profound sense of drama and emotion...

Margie Hughto Blue Blossom, 1983 Dyed Handmade paper Hand signed and dated by the artist on the lower right front. Titled on the back. Frame Included in ...

Black and yellow abstract charcoal drawing by Houston artist Paul Forsythe. The piece features an abstract, organic shape floating against a white background. Currently hung in a lig...

Selena Beaudry’s work is created by marking and cutting up drawings. This has led the artist to rediscovering her visual language. Her work consists of...

William Tucker Study for Gymnast IV (De-Accessioned from the High Museum of Art, Atlanta), 1985 Oil Stick on Paper Hand signed by the artist on the front Original vintage frame included This study by the modern British sculptor, William Tucker, was done of the bronze sculpture 'Gymnast IV.' The sculpture is currently part of the Tate Galleries Collection in England. It was one of a series of four that the artist completed in 1983. Tucker, along with Isaac Witkin...

it is currently unframed and will be sold thus. Similar in style to the 80s work of Elizabeth Murray. A bright, colorful expressive piece signed (labels are not included as it is un...

This is a unique work on paper from 2020. One of my big diptychs that mirror the scale 1:1 to our human bodies (in real time!) Simultaneously a space to enter and an object that touches on ideas such as an astral body or making visible what is unseen in spiritual or morphic fields. This is 90 inches tall by 84 inches...

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...

Untitled orange toned abstract watercolor painting by American painter Larry Zox. The work features a pastel orange wash of color accented with black horizontal lines. Signed in penc...

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

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...

"Brunch Break" is an original oil pastel drawing on rag board by Reginald K. Gee. This piece is an abstract amalgamation of many different colors and markmaking techniques. 40" x 3...

This original abstract watercolor painting by Nealy Hauschildt features a light blue and and green palette. The artist layers organic pl...

Interior design paintings. Triptych. 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, f...

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...

Toni Flynn attended the Art Students League in New York City, the storied institution where Jackson Pollack, Robert Rauschenberg, Alexander Calder, and Georgia O’Keefe studied. At th...

Mark Pomilio is a visual artist using the traditional mediums of charcoal and oil paint on a variety of traditional and non-traditional supports. His MFA is from the University of Mi...

This is an exclusive handprinted limited edition cyanotype. This gorgeous triptych is called "Fresh California Pool Patterns" which shows the semi-abstract movements of light reflect...

This is a large work on paper created during MacDowell Fellowship residency . It is 60 x 51 inches on paper. There are figurative elements in the harlequin patterned abstract space ...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These triptychs are large pieces that feature lush blues, making them an impressive addition to any beautifully designed space. Each triptych is printed by hand and carefully crafted to capture the unique essence of these natural environments, with a focus on the interplay of light and shadows, and the subtle nuances of tone and texture. The beach and ocean scenes depict the dynamic beauty of waves crashing against the shore, with the cyanotype process lending a dreamy, ethereal quality to the images. Similarly, the forest and wood scenes offer a glimpse into the hidden depths of nature, with the cyanotype process lending a sense of mystery and wonder to the images, while the lush blues of cyanotypes imitate the sky and clouds perfectly. These triptychs are perfect for anyone who loves to surround themselves with the beauty of nature, and they make an excellent centerpiece for any beautifully designed space. Details: + Title: Desert Palm Trio + Year: 2023 + Edition Size: 20 + Stamped and Certificate of Authenticity provided + Measurements : 100x210 cm (40 x 84 in.) Each paper measures 70x100 cm (28x 40 in.) each, a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative...

"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...

Toni Flynn attended the Art Students League in New York City, the storied institution where Jackson Pollack, Robert Rauschenberg, Alexander Calder, and Georgia O’Keefe studied. At th...

"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...

Selena Beaudry’s work is created by marking and cutting up drawings. This has led the artist to rediscovering her visual language. Her work consists of...

Blue and orange abstract contemporary outsider art. The piece depicts the massive Titanic ship against a dark orange sunset sky. The captain (Edward Smith) of the ship's portrait is ...

'Midtown' 2012, is by Frederic Choisel. From a series of large scale urban-scape drawings in mixed media. Atwork is 60 x 42 inches: Mixed media includes graphite, charcoal, ink, past...

"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...

Set against a silk brocade backing, this early 20th-century paper scroll is brushed with a work of painterly calligraphy. Expressing notions of endurance and moral fortitude, the scr...

Paper Piece only No frame

"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...

Chrysler Building No 2 by Frederic Choisel. From a series of large scale urban-scape drawings in mixed media. Atwork is 60 x 42 inches: Mixed media includes graphite, charcoal, ink, ...

Paper Piece only. No frame

Genre: Modern Subject: Abstract Medium: Watercolor Surface: Paper Country: United States Dimensions w/Frame: 17 1/2" x 21 3/4" Riva Helfond (1910–2002) was an American artist and printmaker best known for her social realist studies of working people's lives. Riva Helfond was born in Brooklyn, New York, to a Jewish family. She spent some of her childhood in Russia and returned to New York at the age of eleven, living in New York or New Jersey for most of the rest of her life. Between 1928 and 1940, she studied at the School of Industrial Art and the Art Students League; her teachers included William von Schlegell, Yasuo Kuniyoshi, and Morris Kantor for painting and Harry Sternberg for printmaking. Among her fellow students were Alexander Brook and her future husband, the sculptor William (Bill) Barrett. Helfond began teaching in the College Art Association Program (1933–36) and then taught printmaking at the Harlem Arts Community Center (1936–38). Initially she taught lithography alongside Jacob Lawrence, Romare Bearden, and others before moving to the graphic arts division, where she worked with Louis Lozowick and Jacob Kainen, and the silkscreen division, which was supervised by Anthony Velonis and which had Harry Gottlieb and Elizabeth Olds...

Toni Flynn attended the Art Students League in New York City, the storied institution where Jackson Pollack, Robert Rauschenberg, Alexander Calder, and Georgia O’Keefe studied. At th...

Landscape mixed media on vintage paper 97x37 cm 2019 the artwork have a frame 50x110 cm Ready to hang Original Art The major creative focus of Marilina Marchica has always been w...

Toni Flynn attended the Art Students League in New York City, the storied institution where Jackson Pollack, Robert Rauschenberg, Alexander Calder, and Georgia O’Keefe studied. At th...