20th Century Abstract Drawings and Watercolors

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 ...

Signed lower center edge Annotated verso: “5 Juin 1966 _____ et de soleil, de et d’oseille” Image: 6 3/4 x 4 5/8" Frame: 14 1/2 x 12 3/4" Finishe...

A striking modern abstract pastel on paper by listed Monterey, California artist Henry Elinson (American, 1935-2010), 1980. Featuring clean lines and bold geometric shapes in a palet...

Bright and colorful modernist market scene with abstracted figures on heavy bond paper by Doris Ann Warner (American, 1925-2010). Signed "WARNER" in the lower right corner. Presented in a new double mat of light blue and antique buff...

Dalia KASCIUNAITÉ Vinius (Lithuania), 1947 – 7 designs Mixed media One drawing is signed, titled and dated at the bottom ““Sienne” / Kasciunaité Dalia / 1990” 33 x 43 cm (46 x 61 ...

Acrylic on paper by Swiss artist Albert Chubac

Opper Estate Maroon Abstract c. 1940-1950's Gouache on Paper 15" x 18" Unframed From the estate of Ruth Friedmann Opper & Jerry Opper. Ruth was the daughter of Bauhaus artist, Gustav Friedmann. San Francisco Abstract Expression A free-spirited wave of creative energy swept through the San Francisco art community after World War II. Challenging accepted modes of painting, Abstract Expressionists produced highly experimental works that jolted the public out of its postwar complacency. Abstract Expressionism resulted from a broad collective impulse rather than the inspiration of a small band of New York artists. Documenting the interchanges between the East and West Coasts, she cites areas of mutual influence and shows the impact of San Francisco on the New York School, including artists such as Mark Rothko and Ad Reinhardt. San Francisco's Beat poets...

Provenance: Darthea Speyer, Paris. backing 12 X 17 image 8.5 X 11.5 John Levee (1924 - 2017) was an American modern art abstract expressionist painter who had worked in Paris since ...

Blue & yellow abstract watercolor by Les (Leslie Luverne) Anderson (American, 1928-2009). From the estate of Les Anderson in Monterey, California. Signed on verso and unframed. Image...

James Rosati Untitled Geometric Abstraction, 1982 Two-sided Acrylic and Colored Pencil on Paper drawing Hand signed and dated on lower right front 14 1/2 × 13 1/2 inches This is a un...

Michael Jay Knigin (American, 1942 – 2011) Untitled (abstract) Mixed media painting on paper, includes acrylic, watercolor and gouache Estate stamp on the ...

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...

Tony Oursler Crab (With Museum Exhibition Labels), 1972 Colored pencil on paper Bears what appears to be the artists signature (or original notation)...

A striking large-scale abstract watercolor painting by contemporary American artist Virginia Maitland (b. 1947), created in 1980. Known for her expressive use of color and dynamic co...

Bellissimo studio costruttivista per costume teatrale Kostantin Vialov Pittore, grafico, scenografo, artista di arti decorative e applicate. Uno dei principali artisti sovietici deg...

C. 20th Century Abstract Painting in Watercolor on Handmade Paper ( Signature on Bottom Left side ) Hertzberg

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

"Composition III", 1984 (India) ink Signed and dated by hand Edition: Unique Size: 16.2 × 20.3 inches COA provided *Black Frame made from Composite Wood WITHOUT plex included

David Humphrey Remembering Florida, 1992 Oil Stick, Enamel on Handmade Paper (Contemporary Art Center of Cincinnati label verso of frame) Signed on the back 29 × 43 1/2 × 1 inches Unframed This is an abstract, mixed media work by David Humphrey. It has a "Contemporary Arts Center of Cincinnati" label on the verso. In a vintage mahogany box...

Abstract watercolor fragment of a sunset over a field by Irene Pattinson (American, 20th Century). Tag on verso reads "Miller Fine Art / The Estate of Irene Pattinson". Unsigned. Acq...

Original watercolor on paper. Hand signed on front by the artist. Additional images are available upon request. Certificate of Authenticity is included. Please do not hesitate to ...

Color lithograph on fine Arches paper Published 1966 Publisher: Maeght, Paris Limited edition Signature and numbering in pencil by the artist Numbered specimen: 68/75 Paper size: 54...

Signed lower right, 'Beth Ames Swartz' (American, born 1936) and dated 1967. Primarily working in the idioms of abstraction and semi-abstraction, Beth's paintings and mixed-media works are commonly informed by philosophical and spiritual concepts shared by people of different cultural worldviews, and incorporate both symbols and words in the vocabulary of their visual language. Her art practice has been guided by aesthetic philosophies including Wassily Kandinsky’s Concerning the Spiritual in Art and Robert Smithson’s Spiral Jetty, and inspired by various religious and philosophical systems including Native American Healing practices, Buddhism, Jewish Mysticism, and Christianity in order to facilitate communication with viewers on both the conscious and unconscious level. Swartz synthesizes these spiritual traditions in her work with the purpose of revealing the commonality between them. Beth was born in New York City and grew up in Manhattan, and by her mid-teens was studying at the Art Students League in New York in the late 1940s. Her education continued at The High School of Music & Art in New York City, and Cornell University in Ithaca, New York, where she graduated in 1957 with a Bachelor of Science degree, followed by a Master of Arts degree in 1959 from New York University. Beth Ames Swartz exhibited nationwide including at over seventy solo exhibitions including a solo show at The Jewish Museum in New York. In addition, she participated in three major traveling museum exhibitions and her work is held in the permanent collections of numerous major museums including the National Museum of American Art at the Smithsonian. She received the Governor's Individual Artist Award in 2001 in Arizona, and a retrospective of her work was mounted in 2002 at The Phoenix Art Museum, with a monograph about her work co-published by The Phoenix Art Museum and Hudson Hills Press. Swartz explores systems of knowledge by translating philosophical concepts into aesthetic visual experiences. Fellowships, Awards, Grants and Honors: New York, NY - 2003 Veteran Feminists of America, Medal of Honor Phoenix, AZ - 2001 Recipient, Governor's Arts Award, the highest honor in Arizona for one individual who may be a visual or performing artist or a writer. Snowmass Village, CO - 2000 Anderson Ranch, Artist in Residence Phoenix, AZ - 1994 Founder, Culture Care , an international, non-profit organization sponsoring The Sacred Souls Project, to identify, support and honor individuals who demonstrate positive human societal values New York, NY - 1994 Awarded Flow Fund grant for discretionary philanthropic use for non-personal benefit New York, NY - 1994 Panelist, College Art Association, Art, Earth and Medicine: A Healing Approach New York, NY - 1993 Panelist, The Sacred in the Arts Conference New York, NY - 1992 Speaker, MedArts Conference, Research Study on A Moving Point of Balance Stinson Beach, CA - 1991 Speaker, Symposium, Art as a Healing Force New Harmony, IN - 1990 Keynote Speaker, Art and Healing Conference Phoenix, AZ - 1988 Co-Founder, International Friends of Transformative Art (IFTA), an international, non-profit organization for positive global change Payson, AZ - 1988, '87 Project Coordinator, Rim Institute, Transformative Artist's Conference and Workshop Phoenix, AZ - 1985 Governor's Award, Outstanding Women of Arizona - Women Who Create Sun Valley, ID - 1980 Sun Valley Center for the Arts & Humanities, Artist in Residence, The Awesome Space: The Inner and Outer Landscape Hawaii National Park, HI - 1979 Volcano Art Center, Artist in Residence Phoenix, AZ - 1978, '77 Named Master Teacher by State Department of Public Instruction Phoenix, AZ - 1978, '77 Educational Grant for Inquiry Into Fire, Arizona Commission on Arts and Humanities Selected Bibliography and Reference: Davenport’s Art Reference Guide, 2007/8 Edition, p.2468; Arizona/Women '75 (exhibition catalogue). Tucson, AZ: Tucson Art Museum, 1975; Baigell, Matthew. "Art and Spirit: Kabbalah and Jewish-American Artists." Tikkun vol. 14, no.4, (July-August 1999): 59-61 (illus. in b&w of Shen Qi Series: the Cabalistic Scheme of the Four Worlds #5); Beth Ames Swartz, Inquiry Into Fire (exhibition catalog). Scottsdale, AZ: Scottsdale Center for the Arts, 1978. Introduction by Melinda Wortz; Beth Ames Swartz, 1982-1988: A Moving Point of Balance (exhibition catalog). Scottsdale, AZ: A Moving Point of Balance, Inc., 1988. Introduction by John Perreault; Biennial 1979 (exhibition catalog). Phoenix: Phoenix Art Museum, March 9-April 8, 1979, 35-37, 64 (illus. in color Sedona, #23; illus. in b&w, Torah Scroll, #5); Body and Soul: Contemporary Art and Healing (exhibition catalog). Lincoln, MA: DeCordova Museum and Sculpture Park, 1994. Introduction by Rachel Rosenfeld Lafo, Nicholas Capasso, and Sara Rehm Roberts; Cembalest, Robin. "The Ecological Art Explosion." ARTnews vol. 90, no. 6 (summer 1991): 96-105; The First Western States Biennial Exhibition (exhibition catalog). Denver: Western States Art Foundation, 1979. Introduction by Joshua C. Taylor (with illus. in color of Torah Scroll #4); Gablik, Suzi. The Reenchantment of Art. Thames and Hudson: New York, 1991, 155-57; Gadon, Elinor W. The Once and Future Goddess: A Symbol for Our Time. New York: Harper and Row, 1989, 245-46; 248; Henderson, Barbara. "Beth Ames Swartz," A Magazine of Fine Arts vol. 2, no. 15 (April 1976): 34-41; Israel Revisited: Beth Ames Swartz (exhibition catalog). Scottsdale, AZ: Beth Ames Swartz, 1981: 40 pp. Introduction by Harry Rand...

This soft and inviting work is the second in a series of abstractions by Walkowitz. Containing a central sequence of wavey lines and a singular circle, it evokes a feelings of joy in...

Robert Petersen Giotto, 1989 Mixed Media: Silkscreen with Watercolor and Acrylic on paper Hand signed, numbered and dated on front A.P 2/3 (Unique variant - each example unique with ...

Bold abstract large-scale vertical pastel with textural red, black and orange forms in a sweeping diagonal composition by Renee Harwin (Austrian, b. 1924). Tag on verso with artist's name, title, and mediums. Unsigned and unframed. Image size: 54"H x 33.5"L. As a young Viennese woman, Renee Harwin found her artistic development interrupted by Hitler's arrival to her city. Soon after, Renee and her family left and moved to the United States. Harwin says that while "one can drawn his or her own conclusions from my work, I believe that the tremendous impact of change from Nazism to free America has left deep impressions on me that are played out on these canvases." Her work combines the influence of Midwest painters such as Clyfford Still and San Francisco Art Institute instructor Jack Jefferson...

"Surrealist Composition" is an original drawing in mixed media on paper, realized by Jean Delpech (1916-1988). The state of preservation of the artwork is very good. Sheet dimensio...

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...

Abstract Composition is an original mixed media drawing in ink and watercolor on paper realized by Peter Dischleit (1940-1993) in the second half of the XX century, in 1973. Hand-si...

Lynn Russell Chadwick, CBE RA (British, 1914-2003) Abstracted figure Ink pen and wash Signed and dated `Chadwick 66’ (lower right) 24 x 18.1/4 in. (61 x 46.3 cm.) Lynn Chadwick was ...

Large-scale abstract composition in pastel with bold geometric color-fields in in red, navy blue, green, with yellow and orange accents by Renee Harwin (Austrian, b. 1924). Tag on verso with artist info. "Renee Harwin Untitled Pastel #3 30 1/4" x 44 1/2"" is written in pencil on verso. Presented in a white plexiglass frame with plexiglass covering. Image size: 29.75"H x 44"W As a young Viennese woman, Renee Harwin found her artistic development interrupted by Hitler's arrival to her city. Soon after, Renee and her family left and moved to the United States. Harwin says that while "one can drawn his or her own conclusions from my work, I believe that the tremendous impact of change from Nazism to free America has left deep impressions on me that are played out on these canvases." Her work combines the influence of Midwest painters such as Clyfford Still and San Francisco Art Institute instructor Jack...

Artist: James Lee Byars, American (1932- 1997) Title: Description of Torino Exhibit (Castello di Rivoli) Year: 1989 Medium: Marker on Foil Paper Siz...

Abstract Composition is an original Ink and Watercolor drawing on paper applied realized by Maurice André in the Mid-20th Century. Good conditions. Han...

Abstract Composition is a tempera and watercolor attributed to José Ortega oand realized in the 1970s. The artwork is composed by two little arts on a cream colored cardboard passpa...

This artwork titled "Full Moon" 1995 is in an original pastel on paper by noted American artist Pia Stern, b. 1953. It is hand signed, dated and titled by th...

A bright, colorful watercolor abstract by by Les (Leslie Luverne) Anderson (American, 1928-2009). Signed "Les Anderson" on verso. From the estate of Les Anderson in Monterey, Califo...

Theresa Bernstein The Gathering, circa 1990 Signed lower right Mixed media on paper 9 x 10 3/4 inches Theresa F. Bernstein was born in Philadelphia in 1895 to cultured, middle-clas...

Andrea Belag Beauty for Sale, 1990 Monotype on cotton rag paper 42 1/2 × 30 inches Unframed Pencil signed, dated and titled on the front; bears publisher name and copyright on the back Exquisite monotype; both gestural and minimalist. The title speaks for itself and defines the work. American painter Andrea Belag creates lush and luminous abstractions inspired by the visual and spiritual principles of Zen, as well as artists such as Mary Heilmann, Bernard Frize...

We acquired a series of paintings from Clifford and Rosemary Ellis's studio. To find more scroll down to "More from this Seller" and below it click on "See all from this seller." C...

Francis, Shingo (Japanese/American, born 1969), W3 , 1999 Encaustic and watercolor painting on Arches paper, 23.5 x 22.5 inches, Hand signed and dated verso Provenance: Garner T...

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...

Magnificent abstract work on paper by Swiss artist Albert Chubac measuring 63.5 x 79 x 3.5 cm

Adolfs Zardins (1890 08 II Riga, Latvia – 1967 07 II Jurmala, Latvia), painter. Only in 1990 his relatives give his artistic heritage to publicity. “I am 58, and in five Years my c...

Jay Rosenblum Polarity #3, 1981 Acrylic on paper 6 × 9 1/2 inches Signed and titled in graphite pencil on the front Unframed This gem of a work is an acrylic painting on paper by ren...

Artist: Thomas Guise – Scottish (1916- 1984) Title: Witness Year: 1965 Medium: Watercolor, pen Size: 14.75 x 17.75 inches Signature: Signed, dated lower right. Titled en verso Condition: Good Frame: Unframed This watercolor and ink painting is by the noted Scottish artist, Thomas Gladstone Middleton (TGM) Guise (1916-1984). He received instruction at the Edinburgh Academy and went on to study art at Edinburgh College of Art under Thomson Adam Bruce, Royal Scottish Academy (1947-1949). Guise also traveled and exhibited in the U.S. This particular work was exhibited at the Los Robles Gallery in Palo Alto, CA in 1968. The painting is unframed on artist's board. It is in very good condition with no flaws to note. Biography 1916 - Born on Davidston Farm near Cromarty, Black Isle, Ross-shire, Scotland. 1921 - 1938 Educated Inverness and Edinburgh, Scotland. 1939 - 1946 Served with the Royal Artillery. 1946 - 1980 Worked in painting, process engraving, printing, lithography and commercial art with Featherhal Press. 1947 - Award for Life Drawing. 1984 - Died, Edinburgh, Scotland. Mixed Shows 1948 - 1984 RBA, RSA, RI, RSW, RGI, SSA, NEAC. Trends Arun Art Centre The Bath Festival Exhibition by FPS (Modern Art) Solo Shows 1966 - Randolph Gallery, Edinburgh Festival 1967 - Encina Gallery Stanford University, California, United States 1968 - Los Robles Gallery, Palo Alto, California, United States 1968 - Randolph Gallery Edinburgh Festival 1970 - Clarkson Gallery, Victoria Street...

Elaine Kaufman Feiner (1922-2018) "Hawaii II" 1993 Oil pastel, paint on paper 30"x40" unframed Signed and dated in pencil lower right, signed, titled and dated on reverse

Signed and dated lower right; inscribed, Dated and Signed on Verso Provenance: Ashley John Gallery

Untitled molded mud-dried paper with collage elements, 1996 Signed and dated lower edge (see photo) Annotated and titled verso Sheet size: 24 x 7 inches Provenance: Ralph Drake, fir...

Substantial and period Abstract expressionist pair of India ink drawings by San Francisco artist Louis E. Nadalini (American, 1927-1995). Signed "L. Nadalini" lower right and titled...

Adolfs Zardins (1890 08 II Riga, Latvia – 1967 07 II Jurmala, Latvia), painter. Only in 1990 his relatives give his artistic heritage to publicity. “I am 58, and in five Years my c...

Adolfs Zardins (1890 08 II Riga, Latvia – 1967 07 II Jurmala, Latvia), painter. Only in 1990 his relatives give his artistic heritage to publicity. “I am 58, and in five Years my c...

Bold abstract geometric landscape, an expressive black and white line drawing done in pastel, by Erle Loran (American, 1905-1999). Unsigned, but was acquired from the artist's estate. Presented in a new black mat with foam core backing. Provenance: Estate of Earle Loran; David Carlson...

Arthur Berridge (British, 1902-1957) Abstracted figures #1 1950 Charcoal 14.1/2 x 21.1/2 in. (36.8 x 54.7 cm.) Provenance: David Lay, Penzance Born in Leicester in 1902, Berrid...

Detlef Baltrock (*1954 Stuttgart), Untitled, 1985. Watercolor, 29.5 cm x 21 cm (visible dimensions), 41 cm x 32 cm (frame), signed “Baltrock” lower center and signed “[19]85”, label ...

Naftali Bezem (Hebrew: נפתלי בזם‎‎; born November 27, 1924) is an Israeli painter, muralist, and sculptor. Lion on nude figure of wo,man. Bezem was born in Essen, Germany, in 1924. H...

D. Tongen Mint, Orange, Yellow, Black 1980s 11.75"x10.5" Soft pastel and pencil on paper Signed in pencil lower right

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 ...

Black,White,Picasso,abstract Atelier stamp lower right Dora Maar, original name Henrietta Theodora Markovitch (Marković), (born November 22, 1907, Paris, France—died July 16, 1997, ...

Abstract Composition is a watercolor drawing realized by Paul Ackerman (1908-1981). Hand-signed by the artist in the lower left corner. Included a Pass...

Song of Pink Warrior is a drawing realized by Iranian Painter and Poet Parimah Avani in 2023. China ink and acrylic on ivory-colored paper. Hand-signed and dated. Excellent conditions. Presented in a Solo exhibition of "Calligraphy of Bodies" in Luoghi Comuni Turin 2023. The artwork is expressively and poetically created, the well-applied dry and watery strokes represent gestural revolutionary figures in a minimalistic manner in a miniature style of composition. which makes this series unique: it is deeply behind the dynamic emotion of each gestural figure, four colors here have metaphorical features; pink as woman, yellow as hope, silvery as resistance, and red as blood. another aspect that stands out in this art is the vigorous and unbridled energy of brushstrokes. Her Series could be described as raw, spontaneous, and emotionally charged. Gestures are a powerful and thought-provoking commentary on social and political issues. The panoramic lines inspired by Persian calligraphy, here have an exclusive sense of narration harmoniously. The style of Persian calligraphy and knowledge of poetry let her make a visual poem in an expressionistic style, congruent with the poetic title, the use of space and maintaining an empty background and foreground intentionally have been made to emphasize the solitude and loneliness of gestural figures and at the same time connect to oriental calligraphy. Her artworks artwork has evident characteristics, firstly strongly inspired by Tachisme's “Abstraction lyrique" and artworks of Henri Michaux, and Hans Hurting secondly oriental Persian calligraphy of poems style is evident in her artworks, finally dynamic sensation of revolutionary art...