Abstract Geometric Abstract Drawings and Watercolors

Diagonal lines in pink, pink, orange, and black make up the composition of this original drawing by Yaacov Agam. Signed above the printed text ’Agam’. Title: Beyond the Visible Medi...

Anna Kruhelska is a visual artist and architect working across fields of art and design. She creates abstract, three-dimensional paper wall reliefs that...

Nathalie Palomino is a French self-taught artist practicing pyrography on paper. Her perpetual quest for light and transparency in her works pushes her to multiply the perforations o...

Chicago-based artist Jan Pieter Fokkens uses his work as a means of processing the incomprehensible. Navigating the relationship between algorithmic abstraction and the tangible qualities of pattern and color, Fokkens meditates on how reality is mediated by digital image. Entitled "NGC-6397," this vibrant drawing offers a representation of the globular cluster NGC-6397, also known as Caldwell 87, located 7,800 light-years from Earth. Using an image taken by the NASA/ESA Hubble Space Telescope...

Bold abstract composition with sweeping purple and green pastel tones in organic flowing forms, by Renee Harwin (Austrian, b. 1924). Tag on verso with name, date, title, and dimensions. Presented in a white plexiglass frame with plexiglass covering. Image size: 44.5"H x 31.75"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...

Anna Kruhelska is a visual artist and architect working across fields of art and design. She creates abstract, three-dimensional paper wall reliefs that startle in their intricacy an...

Dana Piazza's creates abstract colorful drawings, full of the illusion of depth, movement, and three-dimensionality. His highly obsessive ink drawings on paper are built upon algorithms, a set of instructions that details how he will draw each series. Different algorithms and geometric patterns result in multiple drawing series that appear divergent but all of Piazza’s work is focused on explorations of chance, discovery and time. Unintentional changes in the mark are inevitable and create distorted and moving images that almost appear as 3D renderings. Dana Piazza received a BFA Magna Cum Laude from the School of Art+Design at Purchase College in 2010. He lives and works in Massachusetts. Item description Square 16...

Untitled Abstraction Pen and ink on paper, 1932 Signed and dated in ink lower center Condition: Excellent Sheet/Image size: 10 3/8 x 6 1/4 inches Frame size: 16 1/2 x 12 1/2" Provena...

Evan Venegas works primarily in watercolor, a delicate medium through which he is best able to convey subtle meanings and emotions. Using geometric shapes in general and circles in p...

Colorful geometric abstract mixed media painting by modern artist Don Shaw. The work features primary colored shapes intertwined with a crouching pink figure. Signed and dated in fro...

Finesse and delicacy are what characterize best Antonin Anzil’s artistic practice. Paper as a medium seems incompatible with the idea of engraving or sculpturing; and yet. Using a sh...

Original work by Mary Early. Graphite, wax crayon, and sumi ink on Arches paper, 12.25 x 16". "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

Finesse and delicateness are what best characterize Antonin Anzil’s artistic practice. Using a sharp tool to carefully pull the fiber of the paper from the front, the artist gives bi...

Notations Q, 2007, Mixed Media on Paper, 17.5 x 14 Inches (Image), 29 x 22 Inches (Paper). This painting on paper is unframed. Playful geometric abstraction of swirling linear ele...

Dana Piazza's creates abstract colorful drawings, full of the illusion of depth, movement, and three-dimensionality. His highly obsessive ink drawings on paper are built upon algorit...

Finesse and delicateness are what best characterize Antonin Anzil’s artistic practice. Using a sharp tool to carefully pull the fiber of the paper from the front, the artist gives bi...

Dana Piazza's creates abstract black and white drawings, full of the illusion of depth, movement, and three-dimensionality. His highl...

Black_VIII, 2016 pencil, black pastel on black cardboard 27.55 H x 19.68 W in. 70 H x 50 W cm Alina Aldea's drawings project all the possible forms which appear to rapidly disappear...

Black_XIV, 2017 Pencil, black pastel on black cardboard 27.55 H x 19.68 W in. 70 H x 50 W cm Alina Aldea's drawing projects all the possible forms which appear to rapidly disappear,...

Dana Piazza's creates abstract colorful drawings, full of the illusion of depth, movement, and three-dimensionality. His highly obsessive ink drawings on paper are built upon algorit...

Anne Youkeles' work blurs the line between painting and sculpture. Her works on paper, like this one, are made with several folded pieces of paper, cut, colored, and placed together ...

Dana Piazza's creates abstract colorful drawings, full of the illusion of depth, movement, and three-dimensionality. His highly obsessive ink drawings on paper are built upon algorit...

Dana Piazza's creates abstract black and white drawings, full of the illusion of depth, movement, and three-dimensionality. His highl...

Finesse and delicacy are what characterize best Antonin Anzil’s artistic practice. Paper as a medium seems incompatible with the idea of engraving or sculpturing; and yet. Using a sh...

Dana Piazza's creates abstract colorful drawings, full of the illusion of depth, movement, and three-dimensionality. His highly obsessive ink drawings on paper are built upon algorit...

James Minden Verge Holographic drawing- engraved anodized aluminum and enamel paint 24 x 24 inches 2017 To get a sense of the holographic effect look at the video on that vimeo's si...

Evan Venegas works primarily in watercolor, a delicate medium through which he is best able to convey subtle meanings and emotions. Using geometric shapes in general and circles in p...

abstract geometric black and white ink drawing on mylar framed in white frame For over twenty years now Patrick Carrara has lived in Brooklyn, where he has maintained a studio and s...

ABBY GOLDSTEIN Untitled, 2012 8.0 x 11.3 inches; framed in white frame 13 x 16.1 inches watercolor and pencil on paper pencil signed recto American artist, Abby Goldstein has been f...

Dana Piazza's creates abstract black and white drawings, full of the illusion of depth, movement, and three-dimensionality. His highl...

Dana Piazza's creates abstract black and white drawings, full of the illusion of depth, movement, and three-dimensionality. His highl...

Exploration 3, 2016, Mixed Media on Paper, 17 x 10.5 Inches (Image), 22 x 15 Inches (Paper). This painting on paper is unframed. Geometric abstraction of textures, geometric shape...

James Minden Incidence Holographic drawing- engraved anodized aluminum and enamel paint 24 x 24 inches 2017 To get a sense of the holographic effect...

DAVID BRODY Untitled (F221, G3), 2000 16.8 x 21.75 inches; framed in off white wood frame 20.1 x 25.1 inches graphite and colored pencil on isometric graph paper pencil signed and da...

James Minden Fringe Holographic drawing- Hand incised plastic and acrylic on panel 36 x 36 inches 2013 To get a sense of the holographic effect look at the video on that vimeo's sit...

abstract geometric black and white ink drawing on mylar framed in white frame For over twenty years now Patrick Carrara has lived in Brooklyn, where he has maintained a studio and s...

Abstract geometric black and white ink drawing on mylar framed in white wood frame with UV Plexiglass. For over twenty years now Patrick Carrara has lived in Brooklyn, where he has m...

Cut-Up Paper II.8 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often r...

Famed graphic designer Ivan Chermayeff creates a portrait made from cut paper and magazine clippings. Chermayeff names it "Old Lady with Spring Hat " and as one views it "charming"...

A contemporary mixed media vinyl and watercolor paint on paper by emerging female artist Winslow Tee. This work measures 20 x 16 on the wall, and the paper size is 14" x 11". A wh...

Cut-Up Paper I.5 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often re...

Artist: David Roth, American (1942 - ) Title: Untitled VI Year: 1974 Medium: Acrylic Painting on Arches Paper, signed and dated Image Size: 15.5 x 45.5 inches Size: 22.5 in. x 53.5 i...

Changing Perceptions 2, 2015, Mixed Media on Paper, 11 x 9 Inches (Image), 17 x 14 Inches (Paper). This painting on paper is unframed. Playful geometric abstraction of rectangular ...

This artwork is a part of the COVID-19 Documentary art (2020). Paintings on high quality, acid-free, high-density paper 360g/m2. All COVID paintings a...

Empath * Communication * Translate * Sharing (One of the Arts) Gouache and metallic ink on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / G...

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

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

This mesmerizing ink drawing on clay-coated panel by Jenifer Kent shows off the artist's meditative process as she hand-draws, without assistance from a straight edge, a network of l...

Continuation 4, 2013, Mixed Media on Paper, 17.5 x 14 Inches (Image), 29 x 22 Inches (Paper). This painting on paper is unframed. Playful geometric abstraction of swirling linear...

Artist: Susan Michod, American Title: Untitled Year: 1977 Medium: Watercolor on Paper, signed and dated Size: 30 in. x 22.5 in. (76.2 cm x 57.15 cm)

This mesmerizing ink drawing on clay-coated panel by Jenifer Kent shows off the artist's meditative process as she hand-draws, without assistance from a straight edge, a network of l...

Drawing / Geometric Abstraction / Mythology and Religion / Bright and Vivid Colors / Black and White Enamel, ink, colored pencil and alcohol ink on paper....

Mixed media and gouache on collage, signed on the back

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...

This mesmerizing ink drawing on clay-coated panel by Jenifer Kent shows off the artist's meditative process as she hand-draws, without assistance from a straight edge, a network of l...

Cut-Up Paper I.5 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often re...

Cut-Up Paper II.3 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often r...

Chicago-based artist Jan Pieter Fokkens uses his work as a means of processing the incomprehensible. Navigating the relationship between algorithmic abstraction and the tangible qualities of pattern and color, Fokkens meditates on how we as viewers negotiate our realities. Entitled "The Adventure II," this vibrant drawing depicts a still from the Italian classic film...

Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often reducing the composition to minimal, har...

In Every Direction 7, 2015, Mixed Media on Paper, 11 x 9 Inches (Image), 17 x 14 Inches (Paper). This painting on paper is unframed. Playful geometric abstraction of rectangular sh...