Oversized Drawings and Watercolor Paintings

Prakash Karmakar - Lady with the Lamp - 48 x 36 inches (unframed size) Ink on Canvas Inclusive of shipment in roll form. Style : Legendary master artist Lt. Prokash Karmakar from B...

Prakash Karmakar - Flower Girl - 48 x 36 inches (unframed size) Ink on Canvas Inclusive of shipment in roll form. Style : Legendary master artist Lt. Prokash Karmakar from Bengal w...

Tipping Point #7 (Abstract drawing) Pigment pencil on Mylar - Unframed. This work is from a series titled Tipping Point. This drawing has been created eyes closed. It captures an a...

Flutter (Abstract Painting) Oil on paper - Unframed Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at a time, moving betwee...

Color Trac #27 (Abstract painting) Acrylic on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositi...

Manifest 2 (Abstract Painting) Charcoal and water on paper. Unframed. Margaret Neill works for a time on a group of pieces in a series, using classic almost primal materials such a...

Constellation of Grief (Abstract Painting) Oil on paper - Unframed. Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at a tim...

Black River 11 (Abstract work on paper) Resin varnish, collage on paper - Unframed Many little fragments from different sources exist within these resin works, including natural ma...

Ingenuity (Abstract painting) Ink, oil pastel and charcoal on paper - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a pro...

Untitled (Ref 19016) (Abstract Painting) Ink on paper - Unframed. Martín Reyna is an Argentinian-born abstract painter living in Paris, France. His gestural abstract paintings deli...

Color Trac #26 (Abstract painting) Acrylic on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositi...

Cut 42 (Abstract work on paper) Ink, enamel on paper - Unframed This work is part of one of 4 on-going series of large works on paper. The name of this series, "Cut", relates to t...

L.I.C. 2 (Abstract painting) Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work from ...

Untitled 21003 (Abstract painting) Ink on paper - Unframed. This work is sold as a triptych, each element's dimensions: 56 x 76 cm/22 x 30" Reyna works with ink, acrylics and oils...

L.I.C. (Orange) (Abstract Drawing) Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work...

Lapin (Abstract painting) Oil on paper - Unframed Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at a time, moving between ...

Big Melt #16 (Abstract drawing) Pigment pencil and water on mylar - Unframed. This work is from a series titled Big Melt. It has been created with pigment pencils and ice. It captu...

Color Trac #5 (Abstract painting) Acrylic on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositio...

L.I.C. (Orange) (Abstract Drawing) Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work...

Big Melt #10 (Abstract drawing) Pigment pencil and water on mylar - Unframed. This work is from a series titled Big Melt. It has been created with pigment pencils and ice. It captu...

Although Western painting was initially embraced during Japan’s Meiji period (1868–1912), artists brought on a revival of traditional painting styles as they sought to create a moder...

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...

56"x96" watercolor on paper, signed on reverse. New York artist, Thomas Broadbent, well know for his contemporary naturalist depictions of the intersection of nature and man, presen...

Ink on paper - Unframed. This work is sold as a triptych, each element's dimensions: 56 x 76 cm/22 x 30" Reyna works with ink, acrylics and oils on canvas or paper. One of his sign...

Acrylic on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositions, on supports that are themselves...

Acrylic on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositions, on supports that are themselves...

Acrylic on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositions, on supports that are themselves...

Acrylic on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositions, on supports that are themselves...

Pigment pencil and water on mylar - Unframed. This work is from a series titled Big Melt. It has been created with pigment pencils and ice. It captures the moment when solid is turn...

Pigment pencil and water on mylar - Unframed. This work is from a series titled Big Melt. It has been created with pigment pencils and ice. It captures the moment when solid is turn...

Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work from something observed, ideally ar...

artwork dimensions (unframed): 35.5h x 39w inches LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with authors such as Flannery O’Connor and Eudora Welty. As a Georgia native, Graham’s work seeks to understand the ways in which pattern and printed textiles are informed by social and political movements. Her narratives are tightly bound to antebellum traditions while balancing the changing ideals of the new generation of southern society. Graham received her MFA from the University of Illinois at Urbana-Champaign and a BFA from Florida State University. She has exhibited nationally in both group and solo exhibitions including the Weatherspoon Art Museum, the Ogden Museum of Southern Art, and the Athens Institute of Contemporary Art. She has also been a visiting artist at Tulane University and Valdosta State University. In 2016, Graham was awarded a fellowship and residency at the Ucross Foundation and the Vermont Studio Center. Graham is currently living and making work in Tucson, AZ. STATEMENT Firmly grounded in America’s expansive colonial history, my work interrogates how Southern culture has been idealized as “quintessential America” and the bedrock of traditional American values. Using my familiarity and position within Southern culture, I have created a new visual literacy to demonstrate how America’s nostalgia for tradition has been manipulated in an effort to isolate and disenfranchise. My drawings act as a visual archive of research that examines the consequences of American colonialism and addresses the sense of white fragility that continues to pervade Western culture. In the midst of widespread anxiety over the collective American identity, there has been a revival of many of the country’s unresolved historical battles, including contentious race relations, sexism, nativism, and an ever-growing wage gap. I employ the Americana aesthetic of the old South to parallel historical and contemporary acts of resistance to racial, economic, and gender diversity. Borrowing directly from the decorative arts, the meticulously hand-cut mylar and equally intricate drawing capitalizes on America’s propensity for nostalgia to lure the viewer into confronting injustices through the detached lens of that which has already happened. Through a combination of appropriated and invented imagery, my work contextually constructs contemporary accounts of systemic marginalization, executed under the guise of leisure, embellishment and luxury. The dense visual language invites investigation into the textured surfaces and leads the viewer to reflect on the social textures of contemporary culture while questioning their own complicity in current social constructs. Sourcing from period- specific textiles, turn-of-the-century advertisements, campaign posters, and found family photographs, the collaged images create a singular narrative composition that document the cyclical and systemic nature of marginalization in America. The methodology with which the drawings are constructed echoes historical layers of rules, regulations and hierarchies that are stitched into dominant white American myths. The resulting drawings are indexical in nature, recording the parallels between topics of current debate and 18th century Western expansionism. The disconnect between the delicate nature of the work and the unresolved cultural tensions that it reveals provides a visual record of the inconsistencies of American idealism. My current project explores the South as the embodiment of America’s pastoral traditions and values that are at the center of the “Make America Great Again” movement, a movement which has both exploited and is at odds with a social ideal that simultaneously proclaims itself to be “post- racial” and “post- gender” while identifying with a “pull-yourself-up-by-the-boot-straps” mentality. As one of the earliest colonized areas, the South is often portrayed as a region of racial and gender stability in the face of impending change. I am currently working with research institutions in the South to further understand how the architectural structure of the Southern plantation...

"Four Studs in Your Face" (2024) by Katya Tsareva is a delicate yet haunting watercolor on paper (150 x 100 cm). This unique piece from the 'Tender' series captures the tension betwe...

A painting by Irving Norman. "Big City" is a social surrealism city scape, watercolor on paper in a dark palette of reds, blues, and yellows by artist Irving ...

Ink, enamel, collage on paper - Unframed. This work is part of one of 4 on-going series of large works on paper. The name of this series, "Yappanoise", is inspired by one of the numerous "monster-words" and neologisms invented by James Joyce in his last and famous novel "Finnegans Wake...

Alphonse REY Avignon 1864 - Nice 1938 View of the Admiralty of the port of Algiers Triptych of watercolors Signed lower right (each) 35 x 124 cm Very good condition. Painter, water...

"Minimal Series 6920" is an abstract work on paper featuring hues of black and white. Cynthia Knapp is inspired by the works of Joan Mitchell, Helen Frankenthaler and Grace Hartigan....

"The Big City" by Halsey Chait India Ink on 250 GSM Lenox 100 Cotton Rag Paper Halsey Chait's drawings develop according to the rules and mathematics that govern the growth processe...

Ink, enamel on paper - Unframed This work is part of one of 4 on-going series of large works on paper. The name of this series, "Cut", relates to the technique used by the artist, ...

Ink, enamel, collage on paper - Unframed. This work is part of one of 4 on-going series of large works on paper. The name of this series, "Yappanoise", is inspired by one of the numerous "monster-words" and neologisms invented by James Joyce in his last and famous novel "Finnegans Wake...

Ink on paper mounted on canvas - Unframed. Martín Reyna is an Argentinian-born abstract painter living in Paris, France. His gestural abstract paintings delight the eye and activate...

Chinese New Year paintings (nian hua) are colorful folk paintings created to celebrate the annual Spring Festival. Drawn or printed by folk artists in regional studios, nian hua pain...

medium: ink on hand-cut mylar Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with aut...

"Microtelescopic Slide" by Halsey Chait Acrylic & Enamel on Canvas Halsey Chait's drawings develop according to the rules and mathematics that govern the growth processes of life fo...

Charcoal on paper - unframed. Neill creates works on canvas, linen and paper using a variety of mediums, including graphite, colored pencil, charcoal and paint. Her process involve...

2001. paper, watercolor, 103x73 cm Dzemma Skulme worked in oil, acrylic and water-colors. She developed the theme of the caryatid, wherein she endeavore...

[New Orleans, LA ::: b.1959 New Orleans, LA] BIO ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both...

Artwork dimensions (without frame): 60h x 40w inches During World War II an the Vietnam War, women were encouraged to volunteer to travel to war zones through the Red Cross. They w...

Hand Archival Pigment Print on Rag Paper, edition of 35 Jos Martin (b. India) is a conceptual artist, based in Chennai, India. Jos creates rules and structures that she can work wi...

This is a unique pencil drawing by the artist Andy Warhol. It was realised circa 1974. It is stamped twice by the estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, verso. It is also initialed 'VF' by Vincent Fremont of the Andy Warhol Foundation and inscribed with the identification number"RO-28.13", verso. Provenance: Estate of Andy Warhol. The Andy Warhol Foundation for the Visual Arts, New York. Susan Sheehan Gallery...

Signed and dated

Sara Shields works in chalk pastels, coloured pencil, and ink to create large-scale drawings that evoke an otherworldly quality. She graduated from Centennial College’s Fine Arts Stu...

"Trace #14 " Mixed Media on Denril Paper, 49 1/2 x 42 Inches. Lyrical, vivid abstraction in red, blue, orange, burgundy, yellow, white and purple. Denril paper is closely relate...

LAURA TANNER GRAHAM’s drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with authors such as Flannery O’Connor and Eudora Welty. As a Georgia native, Graham’s work seeks to understand the ways in which pattern and printed textiles are informed by social and political movements. Her narratives are tightly bound to antebellum traditions while balancing the changing ideals of the new generation of southern society. Graham received her MFA from the University of Illinois at Urbana-Champaign and a BFA from Florida State University. She has exhibited nationally in both group and solo exhibitions including the Weatherspoon Art Museum, the Ogden Museum of Southern Art, and the Athens Institute of Contemporary Art. She has also been a visiting artist at Tulane University and Valdosta State University. In 2016, Graham was awarded a fellowship and residency at the Ucross Foundation and the Vermont Studio Center. Graham is currently living and making work in Tucson, AZ. STATEMENT Firmly grounded in America’s expansive colonial history, my work interrogates how Southern culture has been idealized as “quintessential America” and the bedrock of traditional American values. Using my familiarity and position within Southern culture, I have created a new visual literacy to demonstrate how America’s nostalgia for tradition has been manipulated in an effort to isolate and disenfranchise. My drawings act as a visual archive of research that examines the consequences of American colonialism and addresses the sense of white fragility that continues to pervade Western culture. In the midst of widespread anxiety over the collective American identity, there has been a revival of many of the country’s unresolved historical battles, including contentious race relations, sexism, nativism, and an ever-growing wage gap. I employ the Americana aesthetic of the old South to parallel historical and contemporary acts of resistance to racial, economic, and gender diversity. Borrowing directly from the decorative arts, the meticulously hand-cut mylar and equally intricate drawing capitalizes on America’s propensity for nostalgia to lure the viewer into confronting injustices through the detached lens of that which has already happened. Through a combination of appropriated and invented imagery, my work contextually constructs contemporary accounts of systemic marginalization, executed under the guise of leisure, embellishment and luxury. The dense visual language invites investigation into the textured surfaces and leads the viewer to reflect on the social textures of contemporary culture while questioning their own complicity in current social constructs. Sourcing from period- specific textiles, turn-of-the-century advertisements, campaign posters, and found family photographs, the collaged images create a singular narrative composition that document the cyclical and systemic nature of marginalization in America. The methodology with which the drawings are constructed echoes historical layers of rules, regulations and hierarchies that are stitched into dominant white American myths. The resulting drawings are indexical in nature, recording the parallels between topics of current debate and 18th century Western expansionism. The disconnect between the delicate nature of the work and the unresolved cultural tensions that it reveals provides a visual record of the inconsistencies of American idealism. My current project explores the South as the embodiment of America’s pastoral traditions and values that are at the center of the “Make America Great Again” movement, a movement which has both exploited and is at odds with a social ideal that simultaneously proclaims itself to be “post- racial” and “post- gender” while identifying with a “pull-yourself-up-by-the-boot-straps” mentality. As one of the earliest colonized areas, the South is often portrayed as a region of racial and gender stability in the face of impending change. I am currently working with research institutions in the South to further understand how the architectural structure of the Southern plantation...

O Watercolor on Yupo paper, 2018 Signed with the artist's initials (see photo) Note: The Series MORE? is centered around the artist’s family. There are two images of the artist’s s...

A view of SoHo in New York City in the 1980s, this work is oil stick on heavy paper. Sign Climbers was exhibited in Leaps and Voyages, Selected Works 1967-74 in Milan Italy at D.E...

"Trace #12 " Mixed Media on Denril Paper, 49 1/2 x 42 Inches. Lyrical, vivid abstraction in shades of yellow, blue, white and purple. Denril paper is closely related to tracing ...

Cartone preparatorio per la lunetta che fu parte del progetto decorativo della Banca Commerciale a Firenze, attualmente sede nel negozio di moda maschile di Stefano Ricci, commission...