Abstract Geometric Abstract Drawings and Watercolors

Carnivore Gouache and metallic ink on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / Gestural Abstraction / Abstract Art / Minimalism and C...

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

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 ...

Abstracted Nude Figurative in Pastel on Paper Vivid abstracted figurative by Black Arts Bay Area artist, Kelvin Curry (American, 20th Century), circa 2000. A woman's profile of her face and her breasts and leg is shown in bold and playful colors of fluorescent purple, orange, pink and yellow. Black outlines of organic and tribal shapes creates even more contrast, making this piece read well from a distance. The tall and thin size of this piece makes this ideal for those difficult and odd sized walls Unsigned Presented "floating" on foam core with black mat surround. Mat size: 38"H x 16"W Paper size: 29"H x 10.75"W Born in Oakland, California Kelvin Curry's creative destiny was clear early in life. Initially using black and white graphite as his medium and later expanding into mixed media to bring about multi-dimension; as well as a sense of rhythm and grace in the abstract female figure. Kelvin Curry studied fine arts at San Jose State University and has been making and exhibiting art all his life. Curry has a keen understanding of the arts, particularly the black arts movement in and around the Bay Area. Kelvin has exhibited his work in hundred of juried festivals, exhibits, and galleries throughout the country. Visitors from countries such as South Africa, Japan, Australia, France, the United Kingdom, and China have chosen his work to adorn their homes in their native lands. Collectors include Randy Crawford, Nancy Wilson...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

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

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

The new works of Mylinh Nguyen designed from polymer resin, bring us into a nature whose refinement commands admiration. From the physiognomy of living or extinct plant species, the ...

D. Tongen "Yellow and Black" 1980s 19.75"x12.5" Soft pastel and pencil on paper Initialed in pencil lower right

Gorgeous burst of blue behind a flat top mountain with splashes of orange in this abstract geometric landscape by Erle Loran (American, 1905-1999). Signed and dated lower right "Erle...

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...

pastel and micron pen on paper, framed b. 1979, Poole, Dorset, UK In this new series of work, I explore the intersection of minimalist architecture, design, and the raw beauty of ma...

Alex Diamond Title: "Untitled" (Geometric Abstraction) Year: 2018 Medium: Drawing; Ink on paper Size: 12 x 8.5 inches Signed and dated (stamped) by the artist These pieces, these be...

Richard Garrison collects information from typically overlooked aspects of daily life. Observed data from places like big box stores and parking lots are systematically transformed i...

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...

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...

Richard Garrison collects information from typically overlooked aspects of daily life. Observed data from places like big box stores and parking lots are systematically transformed i...

Abstract Geometric Illusory Line Art in Ink on Paper by Geraldine Heib In this line abstract by Jerry O'Day (American, 1912), lines intersect and layer in straight and rounded ways giving a sense of movement to the piece. O'Day uses simple ink on paper and pure geometric form in the Minimalist style of the 1960s. Unsigned, but was acquired with a collection of the artist's work. Mat size: 39"H x 27"W Paper size: 30"H x 20"W Image size: 27"H x 16"W Jerry O'Day is also known as Geraldine Heib. Born in Oakland, California, on June 17, 1912. Geraldine Heib assumed the name Jerry O'Day at an early age. She grew up in Washington and studied in Seattle at the Cornish School of Fine Arts. Upon moving to the San Francisco Bay area in 1938, she further studied with Bufano as a muralist for two years. O'Day wed sculptor David Lemon and had a gallery in a converted cod fishery in Belvedere from 1942 until 1963. At that time, the couple moved to a houseboat in Sausalito, where she remained until her demise on March 30, 1986. Post War California artist, Jerry O'Day studied at the Cornish School of Fine Arts in Seattle; studied with Beniamino Bufano for two years. She lived in the artist's colony at the Cod fishery with artist David Lemon on Belvedere Island in the San Francisco Bay Area from 1942 - 1963. Solo Exhibitions: City of Paris, Rotunda Gallery; Lucien Labaudt Gallery, 1963; Torrance Gallery, San Anselmo, 1955; Marin Art Gallery, Sausalito, 1956; Palace of The Legion of Honor, San Francisco, 1962; East & West Gallery, Fillmore Street, San Francisco; Landmarks Gallery, Marin County, 1991. Selected Group Exhibitions: 65th Annual Painting and Sculpture Exhibition of the San Francisco Art Association at the San Francisco Museum of Art, 1945; Fourth Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1963. Source: David J Carlson...

Geometric and serene in its complexity - abstract contemporary painting created with impeccable attention to detail by deconstructing original watercolors—based largely on landscape,...

Geometric and serene in its complexity - abstract contemporary painting created with impeccable attention to detail by deconstructing original watercolors—based largely on landscape,...

Nancy Charak Title: Geologies Series 9042 Materials: Drawing on 140# Fabriano Artistico Date: 2018 Dimensions: 22"x30" Nancy Charak makes paintings and drawings in her studio in Tuc...

The new works of Mylinh Nguyen designed from polymer resin, bring us into a nature whose refinement commands admiration. From the physiognomy of living or extinct plant species, the ...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine...

Richard Garrison collects information from typically overlooked aspects of daily life. Observed data from places like big box stores and parking lots are systematically transformed i...

This work on paper features deep hues of pink, orange and yellow. The unframed piece measures 25 by 19 inches. Lizzy Storm is an Atlanta-based Artist and educator creating weathered...

This work on paper features deep hues of pink, orange and yellow. The unframed piece measures 25 by 19 inches. Lizzy Storm is an Atlanta-based Artist and educator creating weathered...

Pool is an original watercolor drawing, realized by an anonymous artist of the XX century. The state of preservation of the artwork is good. Sheet dimension: 8.5 x 39.5 cm. Passep...

Mixed media and gouache on collage, signed on the back

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

Bight abstract geometric composition by Alexandra Zinih (20th Century). Signed and dated ("Alexandra Zinih '09") in the upper left corner. Presented in a black frame with a white bac...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

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...

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: 31.75"H x 44.5"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...

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

Sara Eichner wants to create a space where point of view can not be fixed. Optical games stand in for the struggle to comprehend the complexities of seeing. Using simple drawing tool...

Bold mid century abstracted landscape by Erle Loran (American, 1905-1999). Unsigned, but was acquired from the estate of Ruth Loran (wife of artist). Presented in a new black mat with foam core backing. Provenance: Estate of Earle Loran; David Carlson...

Artist: Arnold Grossman (American, 1923-2016) Title: Untitled Year: c.2000 Medium: Watercolor Paper: Watercolor paper Size image: 18 x 24 inches paper: 18 x 24 inches Signature: ...

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...

Sara Eichner wants to create a space where point of view can not be fixed. Optical games stand in for the struggle to comprehend the complexities of seeing. Using simple drawing tool...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

The new works of Mylinh Nguyen designed from polymer resin, bring us into a nature whose refinement commands admiration. From the physiognomy of living or extinct plant species, the ...

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...

Renelio Marin is a visual artist with a diverse range of influences and styles. Born in Cuba, he received his graduate degree from the San Alejandro School of Fine Arts in Havana in ...

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 black and white drawings, full of the illusion of depth, movement, and three-dimensionality. His highly obsessive ink drawings on paper are built upon ...

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...

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...

pastel and micron pen on paper, framed b. 1979, Poole, Dorset, UK In this new series of work, I explore the intersection of minimalist architecture, design, and the raw beauty of ma...

The new works of Mylinh Nguyen designed from polymer resin, bring us into a nature whose refinement commands admiration. From the physiognomy of living or extinct plant species, the ...

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...

Black_X, 2016 pencil, white 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, w...

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,...

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...

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...

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...

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...