Oil Drawings and Watercolor Paintings

I have worked on a new series of small oil paintings. This is the one of them. This series is dedicated to the scenes of everyday life. This painting is called " Plum fruits". These...

JAY MILDER Untitled, ca. 1987 Gouache on Paper hand signed in pencil, lower left. Image is 9 square inches; framed it's 16 square inches Frame included: held in the original vintag...

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...

Oil on paper. Unframed. Natural and mystical processes inspire Ostovany. Informed by a variety of different cultures, Ostovany feels a connection to multiple separate and yet comple...

Unidentified/Unknown Artist Signature (Miller) "Untitled: Floral Still Life in Orange, Yellow, Purple and Green", Abstract Impressionist Still...

Terrell James Bloom , 2019 Mixed media on stone paper 40 x 28 in (101.6 x 71.1 cm)

The Third Script 45 (Abstract painting) Oil on paper — Unframed Informed by a variety of different cultures, Ostovany feels a connection to multiple separate and yet complementary m...

Rebuilding Goya 24 (Abstract painting) Oil on paper — Unframed Informed by a variety of different cultures, Ostovany feels a connection to multiple separate and yet complementary my...

Oil on canvas Katherine Filice is an award-winning American abstract artist born in 1963 who lives and works in Hollister, Northern California, USA. Her work is known for its explor...

Fanny (Abstract painting) Oil on paper - Framed The work is framed, dimensions incl. frame: 50 x 45 cm / 19.6 x 17.7 inch Spielman uses oil paint on canvas, paper and panel in vario...

Acrylic and oil on paper - Unframed Claude Tétot is a French abstract artist whose work expresses harmony in disharmony by exploring the enigmatic unity that can exist between seemi...

Sonnet 9 (Abstract painting) Oil on paper — Unframed Informed by a variety of different cultures, Ostovany feels a connection to multiple separate and yet complementary mystical tra...

7.30 (Abstract Expressionism painting) Acrylic and oil on paper - Unframed. Jill Moser is an American abstract artist whose work explores the intersection of “painting, writing and...

Oil and oil crayon on paper.

Oil and oil crayon on paper.

Abstract Expressionist Rue de Paris Original transfer Monotype painting by California artist Heather Speck (American 20th C) abstract scene using oil and...

Verse L (Abstract painting) Oil on paper — Unframed Informed by a variety of different cultures, Ostovany feels a connection to multiple separate and yet complementary mystical trad...

Canto #22 (Abstract work on paper) Ink, oil on paper - unframed This artwork will be shipped rolled in a dent-resistant tube. Harald Kröner works thoroughly with paper, of which h...

Dashing into the day 3 (Abstract work on paper) Acrylics, ink and oil on paper - Unframed. This artwork is exclusive to IdeelArt. Knaut builds her compositions slowly over time, a...

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...

These paintings and drawings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. Emily Berger brushes, wipes, rubs, and scrapes,...

Dashing into the day 3 (Abstract work on paper) Acrylics, ink and oil on paper - Unframed. This artwork is exclusive to IdeelArt. Knaut builds her compositions slowly over time, a...

Still Life with Grinder is an modern artwork realized by the artist Enotrio in the late 20th Century. Mixed colored tempera on paper. Hand signed on the lower margin. Sketches by ...

Remains (Body in the Field 2), 2022 oil on paper 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body...

Informal III is an original artwork realized by Giorgio Lo Fermo (b. 1947) in 2020. Oil on canvas. Hand signed and dated by the artist on the back. Hand signed and dated on the low...

Composition is an original drawing in a mix media, oil and tempera on cardboard, realized by Edgar Stoebel (1909–2001). Very good conditions. Hand-sig...

Red Swash (Abstract painting) Oil on gessoed Arches paper. Unframed. For Russinof, everything begins with color. She begins a painting by applying color in lyrical, gestural marks....

Remains (Body in the Field 1), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Duck Ryan Cronin Oil Stick on Paper (ND) 30" x 22.5" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them. The raw, alm...

Remains (Body in the Field 11), 2022 oil on paper 16 17/32 h x 11 13/16 w in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body through the prism ...

Remains (Body in the Field 8), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 5), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 19), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human bo...

Remains (Body in the Field 6), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 7), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 9), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 12), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human bod...

Remains (Body in the Field 10), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human bod...

Remains (Body in the Field 22), 2022 oil on paper 16 17/32 h x 11 13/16 w in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body through the prism ...

Remains (Body in the Field 21 ), 2022 oil on paper 16 17/32 h x 11 13/16 w in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body through the prism...

Untitled 2302 (Abstract Drawing) Oil and paper on paper - Unframed. In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that...

Untitled 2311 (Abstract Drawing) Oil on paper - Unframed. In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge wh...

Bury (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 t...

Red Swash (Abstract painting) Oil on gessoed Arches paper. Unframed. For Russinof, everything begins with color. She begins a painting by applying color in lyrical, gestural marks....

Oil on paper, signature Tom Bennett freedom of rich brushwork, warm colors

Untitled 8 (Abstract painting) Acrylic and oil on paper. Unframed. Claude Tétot is a French abstract artist whose work expresses harmony in disharmony...

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...

Untitled 9 (Abstract painting) Acrylic and oil on paper - Unframed Claude Tétot is a French abstract artist whose work expresses harmony in disharmony ...

Untitled 04, 2015 - 2016 Mixed technique: oil paint, adhesive on paper (Signed on reverse, Framed) 8.26 H x 5.9 W in 21 H x 15 W cm Zsolt Berszán’s work...

Untitled 07, 2015 - 2016 Mixed technique: oil paint, adhesive on paper (Signed on reverse, Framed) 8.26 H x 5.9 W in 21 H x 15 W cm Zsolt Berszán’s work speaks of repulsion and fasc...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 14.75 x 11 inches condition: excellent provenance: all the paintings we ha...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 10 inches condition: excellent provenance: all the paintings we ha...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 10.75 x 8.5 inches condition: excellent provenance: all the paintings we h...

Jazz: Miles ʻSomeday My Princeʼ 8 (Abstract Painting) Papers, oil, flashe, pencil, MSA gel. Unframed. This piece is part of a series based on trumpeter Miles Davisʼ lyrical jazz v...

Untitled 10 (Abstract painting) Acrylic and oil on paper - Unframed Claude Tétot is a French abstract artist whose work expresses harmony in disharmony...

Acrylic and oil on paper - Unframed. Jill Moser is an American abstract artist whose work explores the intersection of “painting, writing and the animated image.” Her work is in t...

Untitled 1 (Abstract painting) Acrylic and oil on paper - Unframed Claude Tétot is a French abstract artist whose work expresses harmony in disharmony b...

Untitled ( ID 1277) (Abstract Painting) Oil on paper - Unframed In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that eme...

Untitled 5 (Abstract painting) Acrylic and oil on paper - Unframed Claude Tétot is a French abstract artist whose work expresses harmony in disharmony b...

Quiver (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...