Art by Medium: Graphite

My interest is in creating a permanent record of the impermanence of our world. In considering the exquisiteness of a moment shared, of a new connection, a new thought, an old memory...

Comes framed and ready to hang in black floater frame. Artist’s Statement: “These paintings are technically challenging, as they combine wax (encaustic), tar, oil, acrylic, powdered...

Estuary 1 (Abstract Drawing) Graphite and acrylic on linen - Unframed This fluid abstract painting is intuitively made with a loaded brush graphite and acrylic on linen. The inter...

French School, circa 1900 Young Woman with a Wide-Brimmed Hat Charcoal and black chalk with white highlights on thick cream laid paper 20 × 29.2 cm Academic study of a young woman ...

Comes framed and ready to hang in black floater frame. (Note: photographed in natural light which gave the painting a bluish cast; it's more white in person. The picture shot at an ...

Alison Haley Paul is a contemporary painter of lavishly textured landscapes full of nuanced color. Her work conjures up connotations and geographical memories: that summer you spent ...

Acrylic, charcoal and graphite on canvas - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings express a profound sense of drama and emotional weight. Krahl works i...

(r) evolution 28 (Abstract painting) Graphite and oil on panel - Unframed. This painting is part of a series titled (r)evolution which started in 2014. This process-based series i...

Bend 12 (Abstract painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connectin...

(r) evolution 28 (Abstract painting) Graphite and oil on panel - Unframed. This painting is part of a series titled (r)evolution which started in 2014. This process-based series i...

Ida Bagoes Ketut Diding, Artist on bali 1937 Signed with initials, dated and titled, bottom centre Black chalk on paper, 29 x 31 cm Literature: Ernst Braches en J.F. Heijbroek, W....

"Untitled #5" is a graphite drawing by Rick Sindt. The two figures are entwined peacefully in this small portrait. The graphite is reminiscent of the old ...

Stone Lantern in Tyme I, cold wax, monoprints, oil stick on canvas, 2024. In the metaphor of lanterns of light, they open tyme/space, but they can also close it down. A flickering la...

David Sharpe, second-generation Chicago Imagist — 1991 figurative portrait, graphite & watercolor on paper. A psychologically charged seated figure that merges meticulous graphite draftsmanship with expressive watercolor accents. Sharpe’s post-Imagist language—bold figuration, surreal inflection, and emotional intensity—animates the mask-like facial passages and layered torso imagery, creating a vivid dialogue between observation and invention. Dated 1991, this work embodies the Chicago school’s distinctive blend of wit and bite while remaining intimately drawn and friendly in scale. Institutional collections (selection): Art Institute of Chicago; Museum of Contemporary Art Chicago; Smart Museum of Art, University of Chicago; Scottish National Gallery of Modern Art; Mary & Leigh Block...

David Sharpe, second-generation Chicago Imagist — 1991 figurative portrait, graphite on paper. A psychologically charged head-and-shoulders portrait rendered entirely in graphite, emphasizing Sharpe’s incisive draftsmanship. Without color, the image leans on tonal shifts, cross-hatching, and faceted marks to build a mask-like visage that oscillates between observation and invention—classic post-Imagist Chicago: bold figuration, surreal inflection, and emotional intensity. Dated 1991, this work embodies the Chicago school’s distinctive blend of wit and bite while remaining intimately drawn and friendly in scale. Institutional collections (selection): Art Institute of Chicago; Museum of Contemporary Art Chicago; Smart Museum of Art, University of Chicago; Scottish National Gallery of Modern Art; Mary & Leigh Block...

Tinman (Abstract painting) Acrylic, ink and graphite on canvas - Unframed. Artwork exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resistant tube. This method...

Waterlilies 3 (Abstract painting) Acrylic, oil bar, oil pastel and graphite on canvas - Unframed. Artwork exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resi...

Tinman (Abstract painting) Acrylic, ink and graphite on canvas - Unframed. Artwork exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resistant tube. This method...

This drawing, three studies of figures, was done by the contemporary artist Claude Weisbuch in 1979, but it shows his interest in the old masters and his academic approach to drawing. The figures are based on sculptures at the Louvre Museum in Paris, especially the ancient Greek sculptures of the Venus de Milo int he center and the Winged Victory of Samothrace...

A Surreal Soiree 2024 Graphite and synthetic polymer on canvas 120 x 100 cm / 27.3 x 39.5 inches in artist frame Signed, dated and annotated on verso Caption: A Surreal Soiree - At ...

“My biomorphic abstractions range from intimate to immersive in scale, referencing our interconnectedness. Building curvilinear ceramic sculpture and then drawing intertwined graph...

Comes framed and ready to hang in professional wood black floater frame. This painting was a Finalist in the Grey Cube Gallery's City Art International Art Exhibition: "Out of all ...

(Comes float-framed behind glass.) Artist's Statement: "I was working on my "Gridish" paintings (you can find them in a search on the term "Gridish" on this site) when I became fascinated with certain materials I was working with - a new type of super-flat, super-black paint; powdered graphite; and iron oxide pigment. I had a small canvas ready to go, and shifted my attention to concentrating on just one of the rectangular forms I had been using in the Gridish series, and applying these materials in a way that pleased me. That sort of industrial sheen on the surface of the rectangle is really beautiful to me. This was a second I made, on paper. Quite obviously the mood given off by these works is greatly different from the colorful Gridish paintings that spawned them. My daughter, studying design at RISD, said she found the pic I...

Monochrome abstraction Part 1 (Abstract painting) Acrylic, charcoal and graphite on canvas - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s...

On Being Noted (Abstract painting) Oil and graphite on canvas. Unframed. This work is part of McCagg “Portrait/Icon” series, an expansion of her current work depicting natural and ...

Artist Statement: "There is a particular aspect of drawing that I find especially gratifying -- it's the capacity to produce an image that seems to be spontaneously executed . Whil...

Screech of ice series 41 (Abstract drawing) Colored pencil and graphite on plastic paper. Unframed. Screech of Ice is a new series of drawings made by holding a bunch of pencils in...

Attributed to Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Watercolor and graphite on paper Largest: 24 x 18 in. Smallest: 22 3/4 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

Attributed to: Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Watercolor and graphite on paper Largest: 24 x 18 in. Smallest: 23 1/4 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

Attributed to Ross Bleckner (American, b. 1949) Group of 3 Double Sided Drawings Watercolor and graphite on paper Largest: 24 x 18 in. Smallest: 23 1/4 x 18 in. Ross Bleckner grew up in Hewlett, Long Island, New York; drawing all the time without being aware that other artists existed. He was the middle child between two sisters; his father manufactures electronic parts He attended New York University where Sol Lewitt, Chuck Close and others were his teachers. He graduated in 1972, then spent a year at the California Institute of Arts. His contacts in the next few years were very fortuitous; Sol Lewitt and Chuck Close, Carl Andre, David Salle, Julian Schnabel, etc. Bleckner is on the nervous side, beset by self-doubt, insomnia, and gloom. He is unpretentious, although he is bluntly handsome, with olive complexion, and a compact build. He is "10 percent that is superficial and 90 percent that has to do with the depths and that is threatened by living. He is a very complicated individual. He is a very, very morose, deeply feeling, hardworking artist- he takes a lot from within himself - but always, no matter how successful he is, he feels he is going to fall into those depths." 1 Bleckner first exhibited his work in New York in 1974. The following year he was given his first one-man show; he was included in the 1975 Whitney Biennial.. Since about 1985 has addressed many of his paintings to the subject of AIDS- both documenting it as a historical phenomenon and commemorating specific individuals who have died. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Bio sourced from the Archives of askArt. Sources include: Ross Bleckner's Mood Indigo by Lisa Liebmann, in ARTnews, May 1993...

"Light #104" is an original graphite drawing on paper by Bill Teeple, signed on the mat in the lower right corner. This small image of a sunrise over the water is surrounded by a large white mat, isolating this intimate work so that it may be viewed on its own. Art size: 1 7/8" x 1 7/8" Frame size: 14" x 11" "I am the Director of Iowa Contemporary Art (ICON) and Bill Teeple Fine Art, in Fairfield. I have been serious about making art for 50 years, with a degree in art from the University of California at Berkeley. I have taught art in Fairfield for the past 15 years." In the ’70s, Bill and his artist partner Lynn Durham were living in California. Their fantasy/fairy art...

Holding Thought (Abstract drawing) Oil and graphite on canvas. Unframed. McCagg's work is informed and influenced by formal elements such as line and space, which provide an underl...

Medusa, 2014 Graphite on paper 15.75 x 20.1 inches / 40 x 51 cm (framed) Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 h...

Pink heights (Abstract painting) Acrylic, oil pastel and pencil on canvas - Unframed. Artwork exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resistant tube. ...

Bend 14 (Abstract Painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a transparency is created that allows the viewer to enter through the lines onto the painted surface. The titles of each series can be interpreted as emotional, psychological and physical conditions. This work from the series called Bend is a zig zag fragmented shape with a stitched edge that amplifies its 3 dimensional aspect. The optical effect is sculptural. There is a constant play between drawing, painting and sculpture. The painting has a dynamic energy and yet simultaneously convey a quiet poetry. Holly Miller is an American abstract artist whose paintings strive to merge the optical with the tactile through the language of abstraction. She lives and works in Brooklyn, NY. Communication through the touch (body language) has inspired her tactile abstract paintings. Miller's palette echoes the tones and hues of Italian industrial design from the 60's and 70's, while her shapes recall architecture and urban structures. Her work has a huge affinity to Fontana's physical approach to his paintings and Burri's tactile manipulation of the painting's surface. Ellsworth Kelly's bold shapes and colors have resonated with her on a purely optical level. Agnes Martin’s subtle, quiet, repetitive drawn lines, Fred Sandback’s strong architectural, minimal fiber lines drawn in space, Eva Hesse’s emotionally loaded structured webs, Richard Tuttle’s quirky and fresh drawings and humble objects, Bridget Riley's dynamic, optical compositions have left a deep impression on Miller inspiring her to carve out her own voice in Abstraction. By combining repeated threaded lines with geometric shapes of color, her work conveys many dichotomies: reductive painting and craft, illusion and material, warm and cool, absence and presence, masculine and feminine, bold and subtle, perfection and imperfection... The paintings have a physicality that is described through the monochromatic brush strokes and the punctured holes of the drawn lines that pierce the surface of the canvas, yet from a distance, they appear to be flat and suggest a fine line drawing...

Rise 3 (Abstract Painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting...

Screech of ice series 42 (Abstract drawing) Colored pencil and graphite on plastic paper. Unframed. Screech of Ice is a new series of drawings made by holding a bunch of pencils in...

Balancing act 2 (Abstract Painting) Gouache, graphite and ink on Rives paper. Unframed. Balancing Act 2 is part of a series of works on paper started in 2016. They are created in the evenings and aptly named after busy days of teaching and other responsibilities. The artist establishes parameters involving the use of a particular palette, certain mark-making gestures and amount of time spent on each drawing. This work incorporates graphite, ink, and gouache, and is a combination of intuition-based and planned execution. Tracey Adams is an American abstract painter and printmaker. Her artworks reflect a strong interest in musical patterns, rhythms, lyrical compositional elements and what she calls a sense of performance. She lives and works in Carmel, California. Work by Adams is part of the permanent collections of several museums, including the Bakersfield Art Museum, the Monterey Museum of Art, the Fresno Art Museum, the Tucson Art...

La Nave Blanda brings together Christian Wedel’s graphite drawing on tracing paper with a wooden frame developed in collaboration with Panorammma Atelier. The piece operates as a sof...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...

Swirled Lingams, April 12 2016 Soft pastel and graphite on paper 12 × 9 in.

Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a tran...

Screech of ice series 43 (Abstract drawing) Colored pencil and graphite on plastic paper. Unframed. Screech of Ice is a new series of drawings made by holding a bunch of pencils in...

Soothe 1 (Abstract Painting) Acrylic, graphite and thread on canvas - Unframed The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecti...

Monochromatic Series – Nr 1 (Abstract painting) Acrylic, charcoal, graphite and oil pastel on (white) canvas - Unframed. Artwork exclusive to IdeelArt. This artwork will be shippe...

Architect and artist Grover Mouton brings utilizes hand drawings to illustrate urban design proposals. Acting as a catalyst to explore design concepts,...

A delightful early 19th century graphite piece depicting a mother and child taking a moment to rest and quench their thirst. To the little girl's feet is a cat, vying for attention. ...

Graphite on Arches Ingres paper - Unframed. Image's size: 55 x 55 cm/21.6 x 21.6" The simplest reading of Henderson’s work is that he is a painter with the sensibility of a sculpto...

German School (19th Century) 'In the Sculptor's Studio' ‍ Graphite on paper Circa 1880 43.5 x 34 cm

Digital Graphic Artwork Framed 67.3 x 49.7 x 1 cm, acrylic frame Dani André Skogfelt is a visual self-taught Norwegian artist born in 1978 who lives and works in Oslo, Norway. He s...

David Kim Whittaker ARK, No. 6. , 2007-2008 Signed, titled and dated '1, of 20 ARK, No. 6. Whittaker DKW 2007-2008' on the reverse Oil and graphite on paper laid on card 36.5 x 28.8 ...

David Kim Whittaker ARK, No. 9, 2007-2008 Signed, titled and dated '1, of 20 ARK, No. 9. Whittaker DKW 2007-2008' on the reverse Oil and graphite on paper laid on card 36.5 x 28.8 cm...

David Kim Whittaker ARK, No. 12. , 2007-2008 Signed, titled and dated '1, of 20 ARK, No. 12. Whittaker DKW 2007-2008' on the reverse Oil and graphite on paper laid on card 36.5 x 28....

Artist Commentary: End of the season, last of the bounty. Acrylic and graphite on Arches. About the artist: Richard Levine, born in Newark, NJ, is a painter and photographer whose professional career has spanned more than 30 years in the graphic arts working for prominent design firms and corporate clients. He studied oil painting for four years with artists Alan Turner and Andrew Lattimore and photography with Gary Winogrand...

Medium: Watercolor and Gouache over Graphite Signature: Signed "E.M. Ashe" Lower Left "The Bachelor Girls' Christmas." Illustration for unknown publication. Not dated.

Artist's statement: "Separate from the tar paintings I have been doing, I am creating a series of work in which I am channeling some of the things I have always loved about Cy Twombly along with qualities of a painting I saw in a local collection by a Cuban painter that I really admired and have thought about a lot since. Of course both share a graffiti quality; Twombly was the first to work with a sort of automatic drawing, beginning in the 1950s, and what he did opened up this new language for countless painters. You still see traces of it in so much contemporary art. Antoni Tapies has been a big influence on me as well, and you can see some of him in this work as well. I limited the color palette in this one as a sort of exercise in discipline, since it is easy to let color get away from you in a painting like this one. There are areas of three-dimensional paint that help flatten the picture plane and restrict the eye from reading depth into the painting; they function in the same way as Barnett Newman's 'zips' and Susan Rothenberg's lines across some of her horse images...

"Hands caught in motion." Becca Fuhrman says of her work... My work aims to express the small moments that make up a life; quilting memories together one by one. When I was little,...

Generous by Rose Umerlik is an abstract painting, Oil and Graphite on wood panel, 48 x 36. This is part of a new 2022 series. According to Umerlik, " I became a mother this past ye...

In this monotype print on paper, Sylvia Spicuzza presents the viewer with a scene of two young men relaxing within a pastoral landscape. On the back of the print, Spicuzza has left h...

Inviting the accidental while painting, the artist's materials continue to reveal limitless possibilities for improvisation, like jazz music. Influenced by scientific theories-both real and imagined, kitsch, music, decorative art and indigenous textiles, Fagan's abstract paintings and interactive performance build connections between color and surface to sound. This exploration has led to creating a series of interactive games with viewers, the most recent being The Alphabet Game. To play, viewers select, from colored squares, the color(s) that best represent each note in the familiar ABC Song melody. Through these playful interventions their thoughts about color and music are explored in-depth. Documenting their responses in the form of photographs and notes in journals, Fagan has compiled the results of fifteen artists who played the Alphabet Game during a lecture on color where the artist was the guest presenter in order to create this particular painting. Fagan distilled the data gathered and painted this visualization of a color/sound alphabet based on the colors selected by this artist's group. These alphabet paintings introduce a wonderful completion to this pseudo-scientific investigation and celebrate painting...