Oil Drawings and Watercolor Paintings

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

Award-winning artist Jorge Yances reflects the Latin literary tradition of Magical realism with his ability to blend fantasy and reality in his artwork. Yances was born in Cartagena...

Award-winning artist Jorge Yances reflects the Latin literary tradition of Magical realism with his ability to blend fantasy and reality in his artwork. ...

This new series of painting is an exciting transition for Kinney as he is best known for assemblage and sculpture. “Anim”, the Latin root word of animal, means life, soul or breath. This exhibition features select large-format monochromatic oil paintings on stretched canvas and wood panels. On view as well are works on paper with Japanese Sumi Ink, which inspired the oil paintings. Kinney has been looking at pre-historic cave paintings as well as animals depicted therein, such as the Chauvet caves in Nice, Southern France. Emerging from the inextricable interplay of light and dark, Kinney’s black and white ink paintings capture the ever-shifting subjectivity shaped by shadow. Cast in Japanese Sumi ink, each unique painting explores the trajectories of human and animal, natural and architectural form- what is revealed or hidden? A variety of hand-torn, heavy weight papers add textural dimension to each mark and brush stroke, as well as through the immediacy of brushstrokes to depict the action within the artwork In his latest collection of works, Kinney explores animal form and meaning as seen in both contemporary and ancient times. In “Savanna (Zebras) ”, a stampede of zebras is depicted through oil paint on wood panel. Animal populations in regions like the horn of Africa today face the loss of their natural habitats due to extreme draught. He explores the deep imprint they leave behind and the interconnectedness of humans and animals in the world. With the balance of nature at stake, Kinney’s paintings underscore the importance of the relationship between the natural environment and civilization. Matt Kinney...

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: 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: 10.75 x 8.5 inches condition: excellent provenance: all the paintings we h...

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...

Conference of the birds no 40 (Abstract painting) Oil on paper. Unframed. Natural and mystical processes inspire Ostovany. Informed by a variety of different cultures, Ostovany fee...

Oil on high quality paper, Framed, 77 x 59 x 2 cm Juliane Hundertmark is a German artist born in 1971 who lives and works in Berlin, Germany. She is considered one of Berlin's most...

Genre: Expressionist Subject: Landscape Medium: oil Surface: board Country: Italy unsigned Ivan Kurach (1909 – 1968) Ukranian-Italian lived and studied in Italy. Born in the Ukraine...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Claude Muncaster (1903-1974) Moor above Llangollen Oil on canvas 36 x 51 cm Mid Twentieth Century Excellent, recently cleaned and revarnished. Signed lower right. Claude Grahame Muncaster, RWS ROI RBA SMA was the son of Oliver Hall RA. He was born Grahame Hall (his father was the Royal Academician Oliver Hall, who taught his son to paint from an early age) but adopted the name Claude Muncaster in 1922, hoping to strike out on his own and dissociate his career from that of his father. His career as a landscape painter began when he was fifteen; he spent the 1920s and 30s travelling the world with his sketchbook by boat. Muncaster’s primary choice of subject matter came from a genuine love of the sea. He made several long-distance sea voyages, including one around the Horn...

Untitled 2011 (Abstract Painting) Oil on paper - Unframed. In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge w...

Harvesting hay 1930s. Paper, oil, 16x15 cm

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 seem...

Hay stacks. 1981. Oil on cardboard, 22x30 cm

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...

Artist: Helene Alison Title: Nani (Unraced Bold Lad Filly) Year: 1978 Medium: Oil on Canvas, signed l.l. Size: 20 x 21 inches

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"The Portrait" by Geneviève Zondervan (French 1922-2013) pencil/ charcoal on thick paper, unframed paper size: 24.5 x 18.75 inches Beautifully decorative, mid 20th century French o...

"Protect" (2021) by SarahGrace Oil and water-based ink relief print Ink on Paper Block Print, Deep Pink, Purple, Plum, Orange, Marigold Color Gradient, L...

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...

Original pencil, oil and charcoal on paper. Hand signed lower front by Luis Caballero. Artwork size: 25.56 x 25.56 inches. Frame size: 35 x 36 inches. Artwork is in excellent con...

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

***This artwork is currently on exhibit at the Instituto Cervantes, Chicago until September 2025. If purchased this artwork will be available to ship after September 1, 2025. Contact...

"Cutting Power" features black, white and grey with pops of purple. It is a stretched and framed work on paper. Andrew Herzog is a Brooklyn-based interdisciplinary artist and design...

Coming soon

Interior design paintings. The artwork were done with oil, gold leafing pen 18 kt and ink in gold and turquoise color on watercolor paper 300g. The work are 20 by 15 inches in size, ...

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...

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...

Idealized landscape painting with a waterfall and mountains fading into the distance. The work is signed by the artist in the bottom corner. It is framed in a wooden frame with black...

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...

"Day(')s End (Funeral Pyre)" features hues of purple, blue, green, yellow and orange. It is a stretched and framed work on paper. Andrew Herzog is a Brooklyn-based interdisciplinary...

Oil on board, signed verso Image size: 40 1/4 x 29 inches (102.25 x 73.5 cm) Hand made contemporary style frame Here we see a smartly dressed woman sat on a park bench, feeding a group of pigeons that surround her. Lena Gurr had a prolific career in which she painted landscape scenes and still lifes but her most noted works are ones such as these, showing everyday city scenes that were laced with social commentary. Indeed, Gurr noted that her artwork always aimed to show "the joys and sorrows of everyday life." During the course of her career Gurr's compositions retained emotional content as they evolved from a naturalistic to a semi-abstract cubist style. Discussing this trend, she once told an interviewer that as her work tended toward increasing abstraction she believed it nonetheless "must have some kind of human depth to it." Lena Gurr  Lena Gurr, born in Brooklyn in 1897, studied at the Brooklyn Training School for Teachers, the Educational Alliance Art School, the Arts Students League with John Sloan, and with Maurice Sterne in Paris as well as in Mentone and Nice, France. Gurr was a member of the Artists League of America, the National Association of Women Artists, the New York Society of Women Artists, the Brooklyn Society of Artists, Audubon Artists and the American Artists Congress. She exhibited in numerous exhibitions held by these organizations as well as the Whitney Studio Club, National Academy of Design, Virginia Museum of Fine Arts, Brooklyn Museum, and the 1939 World's Fair. Her work is included in the collections of the Biro-Bidjan Museum, Russia and the Library of Congress, where she has been selected as a "Curator's Choice" in the Smithsonian Archives of American Art. In addition to her career as a painter, lithographer and serigrapher, she also taught art in the New York City public school system. She had three solo exhibitions at the ACA Gallery in 1935, 1939 and 1945, and a retrospective in 1963. Notable among Gurr's colleagues - many of them WPA artists - were Mary Cecil Allen...

Oil on paper - Framed 72 x 102 x 3 cm

River in winter. 1987, oil on board, 40x50 cm Winter landscape by the river Edgars Vinters (1919-2014) Edgars Vinters is working in oil, watercolor and monotype techniques. He paint...

Untitled 2 (Abstract painting) 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 seemingly disparate elements, such as graphic patterns and gestural markings. Tétot is inspired by the search for unexpected harmonies. He could be placed in an aesthetic lineage with Hans Hofmann and Shirley Jaffe...

Winter landscape. 1980. Oil on cardboard, 24x32.5 cm

"The Last" features hues of black, white, grey, blue and purple. It is a stretched and framed work on paper. Andrew Herzog is a Brooklyn-based interdisciplinary artist and designer ...

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...

A piece from Bartolome Sastre's mixed media on paper collection. 19.5 x 27.5 inches Pastel and pencil on paper

This new series of painting is an exciting transition for Kinney as he is best known for assemblage and sculpture. “Anim”, the Latin root word of animal, means life, soul or breath. This exhibition features select large-format monochromatic oil paintings on stretched canvas and wood panels. On view as well are works on paper with Japanese Sumi Ink, which inspired the oil paintings. Kinney has been looking at pre-historic cave paintings as well as animals depicted therein, such as the Chauvet caves in Nice, Southern France. Emerging from the inextricable interplay of light and dark, Kinney’s black and white ink paintings capture the ever-shifting subjectivity shaped by shadow. Cast in Japanese Sumi ink, each unique painting explores the trajectories of human and animal, natural and architectural form- what is revealed or hidden? A variety of hand-torn, heavy weight papers add textural dimension to each mark and brush stroke, as well as through the immediacy of brushstrokes to depict the action within the artwork In his latest collection of works, Kinney explores animal form and meaning as seen in both contemporary and ancient times. In “Savanna (Zebras) ”, a stampede of zebras is depicted through oil paint on wood panel. Animal populations in regions like the horn of Africa today face the loss of their natural habitats due to extreme draught. He explores the deep imprint they leave behind and the interconnectedness of humans and animals in the world. With the balance of nature at stake, Kinney’s paintings underscore the importance of the relationship between the natural environment and civilization. Matt Kinney...

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...

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...

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...

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...

Oil paint and collage on panel Unique work Hand-signed lower right by the artist

Rosehip. Oil on cardboard, 23x27,5 cm

Oil and acrylic on paper original work circa 1960 H 74,5 x 56 x 3 cm (framed)

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...

Animal, Africa, black and white, abstract, spirit animal, leopard, jaguar, tiger, jungle, big cats, wild cats, oil paint, painting, animal print, leopard print, oil paint on stretche...

Nancy McTague-Stock (American, b. XX), Two Works on Paper, comprising: "Lucca Glow", Oil on Paper, with label to the reverse and "Summer's End" Mixed Media on Paper, 2000, signed in ...

Boat on the river bank. Oil on cardboard, 50x35 cm

Oil on canvas, signed lower Left Gérard Altmann, né à Paris le 23 septembre 1923 et mort à Paris le 19 avril 2012, est un peintre français. Il est le p...

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...

Oil on paper About Tom Bennett: With quick brushstrokes, Tom Bennett creates representational images of human figures and animals, emphasizing movement in a manner reminiscent of Lucien Freud, Edgar Degas and the photographer Eadweard Muybridge. Elongated and blurry, the horse racing up a hill (Canter Fritz, 2002) and the sinister cat landing a leap (Chien Blanc, 1998) elicit a sense of foreboding enhanced by Bennett’s somber palette; his female figures too reflect a grim sense of humor with their distorted nude bodies. The face of Untitled Figure (1997), for example, is obscured by layers of dark paint. Classically trained as a painter, he initially worked in oil on canvas but discovered that monotype printing enabled him to “literally push the image around,” creating an essential element of motion. To overcome the limited scale of monotypes, however, he switched to painting on slick-surfaced plastic. Tom Bennett’s practice is rooted in the classical tradition where painting and drawing from life is highly regarded. Bennett’s work is heavily influenced by Francis Bacon, Frank Auberbauch and foremost his father, Harry Bennett, who was also an artist. Tom’s time living abroad in Spain and traveling through Eastern Europe and Africa provided the artistic freedom to explore many of the techniques and subject matter that continue to define his practice. Bennett was born and raised in Connecticut. His mediums include monotypes, oil on paper, canvas or styrene board. In a technique that Tom started over 4 years ago, several of his monotypes have been painted over with oil paint using a palette knife, brush, or his fingers to re-purpose the underlying image. These works are a testament to Bennett’s ability to quickly and concisely compose an image with expressive brush strokes, foreshortened figures and expertly rendered light. Tom’s work has been featured in group and solo exhibitions worldwide. Bennett lives and works in Brooklyn, New York. He is currently represented by Tabla Rasa Gallery...

"Perhaps, The Wheel Is To Blame For Some Of This? II" features hues of black, white, grey, blue and purple. It is a stretched and framed work on paper. Andrew Herzog is a Brooklyn-b...

Mixed media, gouache and paper, signed . James Coignard est un peintre, graveur et sculpteur français, né le 15 septembre 1925 à Tours et mort le 7 mars 2008 à M...

5" x 4" Unframed Original - Oil on Paper Hand Signed by Johnathan Ball

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