Watercolor Abstract Drawings and Watercolors

From Earth is an original contemporary artwork realized in 1988 by Mario Surbone. Colored watercolor on paper. Hand signed and dated by the artist on...

Abstract Composition is a contemporary artwork realized by an anonymous artist in the late 20th Century. Watercolor on paper. Good conditions. The artwork is created through deft q...

Abstract watercolor in tones of red and gold by French artist Dante, circa 2010. Original artwork on paper displayed on a white mat with a gold border. Mat fits a standard-size fram...

Mark di Suvero Project for Sculpture in Chalon-sur-Saône, 1992 Marker, Watercolor and Ink Wash on Paper. Hand signed and dated by artist on lower right front Frame included The rare ...

Abstract Composition (c.2022) by Robert Somerton, British, born 1972. ink/ watercolor on art paper, unframed size: 9.5 x 12.5 inches condition: excellent

Abstract Composition (c.2022) by Robert Somerton, British, born 1972. ink/ watercolor on art paper, unframed size: 9.5 x 12.5 inches condition: excellent

Abstract Composition (c.2022) by Robert Somerton, British, born 1972. ink/ watercolor on art paper, unframed size: 9.5 x 12.5 inches condition: excellent

Moses Bahelfer BAGEL (1908-1995) Moses Bagel (born Moshe Bahelfer) was a Polish-born Jewish artist and graphic designer associated with the original Bauhaus and then the School of Pa...

Bright colored abstract painting of a guitar, a microphone, and a keyboard with musical notes in the background. Geometrical patterns play a significant role throughout this paintin...

Unique gouache on handmade paper. Hand signed and dated lower front. Artwork sheet size 8.5 x 10.5 inches. Custom framed as pictured. Artwork is in excellent condition. Artwork ...

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...

Time Travel Gouache on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / Gestural Abstraction / Abstract Art / Mini...

This triptych "Before and After" consists of three conceptual drawings on paper from the collection "Manuscripts". The size is 40x30cm of each artwork, high-density paper (360g/m2). ...

Interior Abstract by Bernard Labbe (French mid 20th century), signed, stamped verso original gouache painting on paper overall size: 16 x 12 inches condition: very good and ready to...

Dorothy Dehner (1901–1994) was an influential American multidisciplinary artist who worked with drawing, painting, printmaking, and most notably sculpture. Dehner's legacy has been ...

Enchanting abstract watercolor by French artist Claude Schun, circa 1990. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Mat fits a sta...

"Abstract" is an original watercolor drawing on ivory-colorated cardboard by Charles Boggs (1921). In excellent conditions. Hand-signed, Boggs, on the...

Bright and colorful ink and watercolor abstract by French artist Jaquel, circa 1990. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Mat...

William Fredericksen Untitled mid century modern geometric abstraction, 1958-1959 Watercolor and Gouache on Board Hand signed and dated on the front 12 4/5 × 11 7/10 inches Unframed ...

Diana Kurz Green Square #12 Gouache on paper 19 x 14 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England...

Sandra Blow (British, 1925-2006) Abstract, 1970 Watercolour Signed with estate stamp (lower left) 11 x 7 in. (28 x 18 cm.) The late British artist Sandra Betty Blow (1925-2006) came...

French watercolor abstract in soothing hues of light yellow, blue and black by Eric Brault, circa 1990. Original artwork on paper displayed on a white mat with a gold border. Archiv...

Abstract watercolor. Signature to be identified. Paper laminated to cardboard. Good condition. 25 x 47.5 cm

Work on paper without frame

Interior design paintings. The work was done with ink and watercolor in black and red color on watercolor paper 300g. The work is 11 by 15 inches in size. This is the "Many thoughts...

Glorious electric green, yellow with pale blue Land's End series of five watercolors from William Stanisich, whose provocative Land’s End series was painted over a 40-year span, with a force and directness that reflects the artist’s search for the essence of light through the medium of watercolor. The 5 iconic works that are included in this collection, are newly framed in a museum quality ebonized black...

Framed 19 x 26. Image 14 X 21 Bernard Segal was born in Cincinnati, Ohio and attended Cincinnati University and the Cincinnati Art Academy. He was known for figure, abstract painting, collage, and cartoon illustration. In the 1920's and 30's, he lived in NYC and attended The Art Students League where he was creative with a number of artistic styles of the period. During WWII, he worked as a cartoonist for a government issued newspaper called 10-SHUN that was published in Greensboro, NC. Bernard worked under the pen name Seeg, and was the author of the comic strip "Hank and Honey," that appeared in the New York Herald Tribune from the 1940's through the 50's. This cartoon was syndicated and published in Quebec under the title "Louise et Louis." The strip was later retitled to Ellsworth. Segal also illustrated a number of Jewish books that were published by the Union of American Hebrew Congregations, and Bible stories. In the 1950's Segal moved to Bucks County, Pennsylvania, and became a member of the New Hope Modernists. He worked with esteemed artists such as George Nakashima, Charles Evans, Louis Stone, Lloyd ney, josef Zenk, Clarence Carter and Charles Ramsey. Segal's most noted work was made during the 1960's, during which time he produced paintings and collages in the abstract expressionist style. He enjoyed painting bright abstract oil...

Work on c-us frame size 73x89 cm

Unknown Artist - Slays in Cyclone, Medium: Gouache on Japon Paper on linen backing, signe in pencil and titled on verso, Image Size: 15 x 10 inches, Size: 20 x 16 in. (50.8 x 40.6...

Seiichi Hara (Japanese). Portrait of Aiko, 1972. Pencil, gouache on paper. Sheet measures 16 x 20 inches. Signed lower right and en verso. Custom frame of hardwood with welded steel ...

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

Ink on paper, Acrylic and / or watercolor, signed in the front, framed in a thin Blond wood frame, glass. Philip Wittmann work is based on signs. Sign...

Composition is an original artwork realized by Maurizio Gracceva (Roma, 1955) in 2010. Good condition. Hand-signed. Watercolor and China ink. Author of numerous philosophical and...

Interior design paintings. The work was done with ink and watercolor in black and red color on watercolor paper 300g. The work is 11 by 15 inches in size. This is the "Many thoughts...

Shire (2022), surreal abstract dream-like landscape, blue, silver, pink, black "Shire" by Shamona Stokes portrays a dreamy, inviting, surreal landscap...

Glorious electric green Land's end watercolor from William Stanisich, whose provocative Land’s End series was painted over a 40-year span with a force and directness that reflects th...

Large Colourful Abstract Art with Pink, Red, Yellow & Blue on a White Background by Contemporary British Artist, Angela Wakefield. This radian...

Interior design paintings. The artwork were done with acrylic, ink and watercolor in bronze and deep blue color on watercolor paper 300g. The work are 11 by 15 inches in size, framed...

Unidentified/ Unknown Artist, "Untitled: Still Life with Cauliflower, Orange and Pepper", Monogrammed Still Life Watercolor on Paper, 16 x 20, Late 20th Century Colors: Brown, Blue...

Interior design paintings. The artwork were done with acrylic, ink and watercolor. The work are 11 by 15 inches in size. This is the "Many thoughts, one head" series. The series sta...

WILLIAM T. WILEY Victory at See, 2001 Watercolor, Graphite and Hand Coloring Signed, titled and dated on the front Unframed (ships flat) A fantastic unique work on paper by the lege...

Interior design paintings. The work was done with ink and watercolor on watercolor paper 300g. The work is 11 by 15 inches in size. This is the "Many thoughts, one head" series. The...

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...

Jardin Sur L'eau (Abstract painting) Collage, watercolor paper and gouache — Unframed Marie de Lignerolles is an artist, designer, illustrator an...

Naftali Bezem (Hebrew: נפתלי בזם‎‎; born November 27, 1924) is an Israeli painter, muralist, and sculptor. Bezem was born in Essen, Germany, in 1924. His early adolescence was spent ...

Otto Eglau (1917 Berlin - 1988 Kampen), Raft Landscape in Sweden, 1956. Watercolor and ink on paper, 45 x 60 cm, signed in his own hand lower right with "Eglau" and dated "[19]56". - somewhat darkened Exposé as PDF - Temporary structures - About the artwork A wide river landscape stretches out before us, its horizon line running across the upper part of the picture, creating the impression of enormous depth. The depth is further extended by the dark tree trunks, most of which spill into the picture, and at the same time rhythmized by their different positions. This sequence of movements gives the landscape a strong dynamic moment. Indeed, the landscape seems to be "fleeing" from beneath us. To keep the gaze on the foreground alone requires a real visual effort. By looking at the foreground, we have already arrived at the background. Therefore, we cannot speak of pictorial grounds in the classical sense. Rather, we are confronted with a structurally rhythmic continuum of space, the dynamics of which are further accelerated by the cut tree trunks in the foreground and the upright trunks in the background, which function as target marks. Since the narrow strip of sky has the same white tonality as the ice, this area also fits seamlessly into the spatial structure, so that a deserted "structural landscape" unfolds before us. The structure, however, is not - as in the case of Piet Mondrian - completely abstract and thus something that exists independently of itself, removed from the time of natural space. The structures that Otto Eglau discovered in nature remain bound to it, which is why they exhibit a temporality that corresponds to the 'course of things'. Even if they correspond to an architecture of nature brought to representation, the structures are not substantial, but contingent. Artistically uncovered, they present themselves to Eglau at the very moment he captures them. In nature itself, these structures will never be repeated in the same way. Panta rhei - everything flows, even if the flow of time is frozen by his artistic representation and the image, for all its dynamism, radiates calm at the same time. "The structures I put behind things, and the lines that hold my paintings, are signs of transient life. They are random like the trace a wave leaves in the sand, blurred like the border between sea and land, ephemeral like the life of a shell I hold in my hand." - Otto Eglau About the artist After his release from captivity in 1947, Otto Eglau studied at the Hochschule für Bildende Künste in Berlin. He was a student of Oskar Nerlinger, Max Kaus and Wolf Hoffmann. From 1953 he taught free drawing for architects at the Technical University of Berlin. In the years that followed, Eglau undertook numerous study trips that took him to Scandinavia, the Arab world, the Far East and even Macau. During these travels he cultivated the technique of watercolour, which allowed him to work quickly in the open air, while retaining a strong painterly quality. Scholarships enabled Eglau to stay in Japan from 1962 to 1963 and in Naples in 1970. From 1969 to 1976 Eglau was professor of etching at the International Summer Academy of Fine Arts in Salzburg. Between 1983 and 1988 Eglau worked simultaneously in his Berlin studio at Lietzensee, which had its own printing press, and in his studio in Kampen on the island of Sylt. Otto Eglau's work has been shown in more than 100 solo exhibitions worldwide and in more than 120 group exhibitions. "I love the vastness of the island. The mudflats off Kampen are my treasure trove; here I discover new shapes and colors every day. Without Sylt, I would be like a fish without water." - Otto Eglau Selected Bibliography Hanns Theodor Flemming: Otto Eglau. Das graphische Werk, Flensburg 1966. Heinrich Seemann (Einführung): Otto Eglau. Inselskizzen, Hamburg 1982. Heinrich Seemann (Einführung): Otto Eglau. Japan, Nepal, Sylt. Aquarelle. Zeichen und Strukturen. Einführung von Heinrich Seemann, Hamburg 1986. Otto Eglau: Watt-Tagebuch. Ausgewählte Aquarelle aus den Skizzenbüchern Otto Eglaus. Kampen 1996. GERMAN VERSION Otto Eglau (1917 Berlin – 1988 Kampen), Floßlandschaft in Schweden, 1956. Aquarell und Tusche auf Papier, 45 x 60 cm, unten rechts eigenhändig in Blei mit „Eglau“ signiert und mit „[19]56“ datiert. - etwas nachgedunkelt Exposé als PDF - Temporäre Strukturen - zum Werk Vor uns erstreckt sich eine weite Flusslandschaft, deren Horizontline im oberen Bereich des Bildes verläuft, wodurch der Eindruck einer enormen Tiefenerstreckung entsteht. Die Tiefe wird von den dunklen, zumeist ins Bild hineinfluchtenden Baumstämmen zusätzlich geweitet und – durch ihre verschiedenartigen Lagen – dabei zugleich rhythmisiert. Durch diese Bewegungsabfolge weist die Landschaft ein starkes dynamisches Moment auf. Und tatsächlich stellt sich der Eindruck ein, als ob die Landschaft unter uns ‚hinwegfluchten‘ würde. Den Blick einzig im Vordergrund zu halten, verlangt regelrecht eine visuelle Anstrengung. Auf den Vordergrund schauend sind wir bereits im Hintergrund angelangt. Daher kann gar nicht von Bildgründen im klassischen Sinne gesprochen werden. Vielmehr steht hier ein strukturell rhythmisiertes Raumkontinuum vor Augen, dessen Dynamik von den angeschnittenen Baumstämmen vorne und den als Zielmarken fungierenden aufgerichteten Stämmen hinten zusätzlich beschleunigt wird. Da der schmale Himmelstreifen dieselbe Weißtonalität wie die Wasserlandschaft aufweist, fügt sich auch dieser Bereich bruchlos in das Raumgefüge ein, so dass sich vor uns eine menschenleere ‚Strukturlandschaft‘ ausbreitet. Die Struktur ist aber nicht – wie dies bei Piet Mondrian der Fall ist – gänzlich abstrakt und dadurch etwas eigenständig für sich Bestehendes, das der Zeit des Naturraums enthoben ist. Die von Otto Eglau in der Natur entdecken Strukturen bleiben an diese zurückgebunden, weshalb sie eine dem ‚Lauf der Dinge‘ entsprechende Temporalität aufweisen. Auch wenn sie einer zur Darstellung gebrachten Architektur der Natur entsprechen, sind die Strukturen nichts Substanzielles, sondern kontingent. Künstlerisch aufgedeckt, bieten sie sich Eglau in eben jenem Moment dar, den er festhält. In der Natur selbst werden diese Strukturen niemals in derselben Art wiederkehren. Panta rhei – alles fließt, auch wenn sich der Fluss der Zeit durch seine künstlerische Darstellung verfestigt hat, wodurch das Bild – trotz aller Dynamik – zugleich auch Ruhe ausstrahlt. „Die Strukturen, die ich hinter die Dinge setze, und die Linien, die meine Bilder halten, sind Zeichen des vergänglichen Lebens. Sie sind zufällig wie die Spur, die eine Welle im Sand hinterlässt, unscharf wie die Grenze zwischen Meer und Land, vergänglich wie das Leben einer Muschel, die ich in der Hand halte.“ - Otto Eglau zum Künstler Nach seiner Entlassung aus der Kriegsgefangenschaft 1947 nahm Otto Eglau ein Studium an der Hochschule für Bildende Künste in Berlin auf. Dort war wer Schüler von Oskar Nerlinger, Max Kaus und Wolf Hoffmann. Ab 1953 unterrichtete er freies Zeichnen für Architekten an der Technischen Universität Berlin. In den Folgejahren unternahm Eglau zahlreiche Studienreisen, die ihn nach Skandinavien, in den arabischen Raum, nach Fernost und bis nach Macau führten. Auf diesen Fahrten kultivierte er die Technik des Aquarellierens, die eine zügige Bildschöpfung im Freiraum erlaubt und dennoch eine stark malerische Qualität aufweist. Stipendien ermöglichten es Eglau, sich von 1962 bis 1963 in Japan aufzuhalten und 1970 länger in Neapel zu verweilen. Von 1969 bis 1976 hatte Eglau die Professur für Radierung an der Internationalen Sommerakademie für Bildende Kunst in Salzburg inne. Zwischen 1983 und 1988 war Eglau parallel in seinem Berliner Atelier am...

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

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...

Abstract Monochrome Painting,Cubism, Mixed Medium, British Artist, Signed By British artist George Holt, late 20th Century Signed and dated '1999' verso Watercolour on board, unframe...

The work was done with ink and watercolor on watercolor paper 300g. The work is 11 by 15 inches in size framed (black) with a styrene face on a mat board in white color with size 20 by 16 inches. This is the "Many thoughts, one head" series. The series started with the picture of a figure with its hands framing the head - but without an actual head, as if hands were holding all the thoughts. Later on the head became objects - metaphors (soap, bubble, mine, alarm clock, etc.) as well as planets. Each person is an individual planet, with their own thoughts and satellites - companions. Artworks from this series got 3rd place at the 2020 and 2021 American Art Awards, juried by 25 best galleries...

Untitled (blue & red diamonds) Gouache on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / Gestural Abstraction / ...

A bold abstract watercolor with yellow and blue, contrasted with red accents by Les (Leslie Luverne) Anderson (American, 1928-2009). Signed "Les Anderson" on verso. From the estate o...

Interior design paintings. The artworks were done with watercolor and ink on watercolor paper 300g. The works are 11 by 14 inches in size, framed (black) with a styrene face on a dou...

Birth (One of the Arts) Gouache and metallic ink on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / Gestural Abstracti...

Accomplish (To Accomplish * Goals & Task) Gouache and metallic ink on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / Gestural Abstraction /...

Science * Laws of Nature (One of the Arts) Gouache and metallic ink on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / Gestural Abstraction ...

Dorothy Gillespie (June 29, 1920 – September 30, 2012) was an American artist and sculptor who became known for her large and colorful abstract metal sculptures. Gillespie became best known for the aluminum sculptures she started to produce at the end of the 1970s. She would paint sheets of the metal, cut them into strips and connect the strips together to resemble cascades or starbursts of bright colored ribbon. The New York Times once summarized her work as “topsy-turvy, merrymaking fantasy,” and in another review declared, “The artist’s exuberant sculptures of colorful aluminum strips have earned her an international reputation.Her works are featured at her alma mater (Radford University) in Virginia, where she later returned to teach, as well as in New York (where she was artist in residence for the feminist Women's Interart Center), Wilmington, North Carolina and Florida. She enrolled both at Radford University near her hometown, and the Maryland Institute College of Art in Baltimore, Maryland. The director of the Maryland Institute, Hans Schuler, helped foster her career in fine art. On June 5, 1943, aged 23, Gillespie moved to New York City. There she took a job at the B. Altman department store as assistant art director. She also joined the Art Students League where she was exposed to new ideas about techniques, materials, and marketing. She also created works at Atelier 17 printmaking studio, where Stanley William Hayter encouraged to experiment with her own ideas. She and her husband, Bernard Israel, opened a restaurant and night club in Greenwich Village to support their family. She returned to making art in 1957, and worked at art full-time after they sold the nightclub in the 1970. In 1977 Gillespie gave her first lecture series at the New School for Social Research, and she would give others there until 1982. She taught at her alma mater as a Visiting Artist (1981-1983) and gave Radford University some of her work to begin its permanent art collection. Gillespie then served as Woodrow Wilson visiting Fellow (1985-1994), visiting many small private colleges to give public lectures and teach young artists. She returned to Radnor University to teach as Distinguished Professor of Art (1997–99).[8] She also hosted a radio program, the Dorothy Gillespie Show on Radio Station WHBI in New York from 1967-1973. Gillespie began moving away from realism and into the abstraction that marked her career. Gillespie returned to New York City in 1963 to continue her career. She maintained a studio through the 70s and advocate worked towards feminist goals in the art industry, picketing the Whitney Museum, helping to organize the Women's Interart Center, curating exhibitions of women's art, and writing articles raising awareness of her cause. Gillespie numbered among her acquaintances such art-world luminaries as Jackson Pollock, Lee Krasner, Alice Neel, Louise Nevelson and Georgia O’Keeffe. “She had amazing stories that unfortunately are gone,” her son said. During the 1960s, she built multimedia art installations that made political statements, such as 1965’s “Made in the USA,” that used blinking colored lights, mirrors, shadow boxes, rotating figures and tape recordings to convey a chaotic look at American commercial fads. The floor was strewn with real dollar bills, which visitors assumed were fake. By the 1980s, Gillespie's work had come to be known internationally. She completed many commissions for sculptures in public places, including Lincoln Center, Rockefeller Center and Walt Disney World Epcot Center in Orlando, Florida. Her work is in many collections across the United States, including the Delaware Museum, the Solomon R. Guggenheim Museum, and the National Museum of Women in the Arts. Her sculptures can also be found in the Frankfurt Museum in Germany and the Tel Aviv Museum in Israel. Group Shows Conceived and Curated by Dorothy Gillespie Women's Interart Center, New York, NY 1974 included: Betty Parsons, Elsie Asher, Alice Baber, Minna Citron, Nancy Spero, Seena Donneson, Alice Neel, Natalie Edgar, Dorothy Gillespie, and Anita Steckel...