Abstract Geometric Drawings and Watercolor Paintings

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 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...

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

Preliminary drawing for the sculpture Catacombs Black crayon on paper, 1971 Signed and dated lower right (see photos) Provenance: Estate of the artist Michael and Alan Lipton (sons) ...

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 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. ...

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...

Unique piece framed signed on right bottom mixed media

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...

Black & Gold Glyphs II by Cheryl R. Riley Metallic abstract geometric symbols Gouache and metallic ink on 140# cold press watercolor paper Feminist Art and Contemporary Feminist / G...

Vibration * Frequency * Feelings Gouache and metallic ink on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / Gestural Abstraction / Abstract...

Accomplish (To Accomplish * Goals & Task) Gouache and metallic ink on 1957 Encyclopedia page Feminist Art and Contemporary Feminist / Geometric Abstraction / Gestural Abstraction /...

Mixed media and gouache on collage, signed on the back

Intricate and lively work Watercolour, Acrylic paint and Ink. On paper framed

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...

acrylic on archival Canson watercolor paper Mauricio Trenard is an artist, educator and arts activist. He says this series is of great interest to him, as it offers the potential ...

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

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...

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...

Geometric and serene in its complexity - abstract contemporary painting created with impeccable attention to detail by deconstructing original watercolors into dime sized triangular cut outs and then affixing them to a wooden panel. Artist Irene Zweig rearranges the media into a new and unique design, where the eye interprets the original message as subliminal; with the components of it still present, and the result is one of contemplative balance and harmony. Fine art, science and mathematics blend in Zweig's intellectually curious and aesthetically sound works that beautifully relate to other eclectic works. 'Gold with...

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...

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...

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...

Jack Davidson Untitled, 2008 Gouache on paper 22.5 x 15 in (57.2 x 38.1 cm) JPHB 5682

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...

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...

acrylic on archival Canson watercolor paper Mauricio Trenard is an artist, educator and arts activist. He says this series is of great interest to him, as it offers the potential ...

Flit, is an abstract geometric black ink drawing on white paper, 2022. The work is hand-drawn by the artist without any ruler or straight edge. She works organically from the center,...

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,...

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...

Anastasia Vasilyeva - Black white abstraction 014 (2019) Painting on high quality, acid free, high density paper. Conceptual minimalist abstract painting designed in calligraphic st...

Linda Turner, raised both in NYC and Northern Virginia, resides in Brooklyn, NY. She achieved a BFA in Surface Design/Textile Design from the Fashion Inst...

Linda Turner, raised both in NYC and Northern Virginia, resides in Brooklyn, NY. She achieved a BFA in Surface Design/Textile Design from the Fashion Inst...

Title of the work "Lunch break". Series "Office". This series was first exhibited in the lobby of the South Quadrum building (Konstitucijos Ave. 21B), a site whose office function p...

James Siena "This is for Nadine", signed drawing, 2005 Original drawing done in black marker, bound in the title page of softcover PACE Gallery catalogue with stiff wraps hand signe...

This abstract painting by Linda King Ferguson is part of a series painted for her show, "The Waiting Room," at Channel to Channel. In this particular painting, a curved, carefully re...

Cut-Up Paper II.3 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often r...

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...

Blue, orange and pink pastel work done in an abstract geometric style. It is framed in a black frame with a white matte. The artist signed the work in the bottom right corner along a...

Blown Away 23, 2010, Mixed Media on Paper, 17.5 x 14 Inches (Image), 29 x 22 Inches (Paper) Playful geometric abstraction of multi-layered shapes and swirling linear elements in shades of yellow green, yellow, black, red and white. This is one of 6 works in this series available which work well in conjunction with each other. Nancy Berlin was born in New York City. After graduating from Barnard College, Berlin received her MA in painting and printmaking from Hunter College. She has received grants for her drawings from the Massachusetts Cultural Council, the New York Foundation for the Arts and the Berkshire Taconic Foundation. She has had residencies at the American Academy in Rome, at Centrum in Port Townsend...

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...

Cut-Up Paper II.3 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often r...

Cut-Up Paper I.15 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often r...

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

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

Cut-Up Paper I.5 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often re...

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...

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...

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...

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...

This striking original pen and ink drawing, titled “The Chicken”, was created by celebrated 20th-century American modernist Edward Marecak (1919–1993) in the 1940s. A powerful exampl...

Oil pastel on paper Original work 57 x 53 x 3 cm (framed)

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...

Notations Q, 2007, Mixed Media on Paper, 17.5 x 14 Inches (Image), 29 x 22 Inches (Paper). This painting on paper is unframed. Playful geometric abstraction of swirling linear ele...

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"...

Executed in 1950 during the heyday of Abstract Expressionism and non-representational art, Feininger reduces a landscape to the bare minimums of lines and wash. Moeller Fine Art

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...