Abstract Geometric Drawings and Watercolor Paintings

D. Tongen Pink, Blue, Mint, Black 1980s 12.75"x9.75" Soft pastel and pencil on paper Initialed in pencil lower right

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 "Rust and Black" 1980s 18.5"x 13" Soft pastel and pencil on paper Initialed in pencil lower right

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...

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 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...

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 ...

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...

Dana Piazza's creates abstract black and white and colorful drawings, full of the illusion of depth, movement, and three-dimensionality. His highly obsessive ink drawings on paper ar...

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...

Colin Fifield (1940-2022) Abstract landscape Watercolour 26 x 36 cm Colin Fifield was a British artist specialising in painting and pottery. He trained at the Camberwell School of ...

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...

Gouache, colored pencil, graphite, and pastel on paper Signed and dated in black ink, verso This artwork is offered by ClampArt, located in New York City. Born in Peekskill, New Yo...

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...

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...

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...

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

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...

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

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 ...

Artist: Kenneth Noland, American (1924 - 2010) Title: Stripes Year: circa 1965 Medium: Watercolor Size: 4.5 in. x 6.75 in. (11.43 cm x 17.15 cm) Frame Size: 11.5 x 13.5 inches

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...

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...

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...

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...

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...

Erle Loran (American, 1905-1999) Set of six landscapes Each mixed media on paper Two signed, lower right and left corners Sheet (largest, unframed): 8.25"h x 11.25"w. Loran was a very influential Bay Area artist whose works are held in public collections across the U.S., including the Metropolitan Museum of Art, the Smithsonian Institution, de Young Museum, SF MoMA...

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...

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...

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 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 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 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_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 black and white drawings, full of the illusion of depth, movement, and three-dimensionality. His highl...

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...

Original work by Mary Early. Work is graphite, wax crayon, and sumi ink on Arches paper, 12 1/4 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...

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...

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...

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...

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...

James Minden Place Holographic drawing- Hand incised plastic and acrylic on panel 24 x 24 inches 2013 To get a sense of the holographic effect look at the video on that vimeo's site...

James Minden potential Holographic drawing- Hand incised plastic and acrylic on panel 24 x 24 inches 2017 To get a sense of the holographic effect look at the video on that vimeo's ...

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...

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...

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

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 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...

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...

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"...

This is an exclusive handprinted limited edition cyanotype. "Calming Sea Ripples" is a handmade cyanotype print portraying the subtle movements and abstract ripples of the open sea. ...

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...

Cut-Up Paper I.14 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often r...

Nikolay Starostenko - Carrier Pigeon (2022) "Carrier Pigeon" drawing is made with a pen and colored pencils on paper. You can entrust your most important secrets to the carrier pige...