Abstract Geometric Mixed Media

"Big Little #144" (Contemporary Abstract Geometric Painting) by Vincent Pomilio Colorful abstract painting on panel made with mixed media in a bright red and white palette acrylic, ...

"Big Little #142" (Contemporary Abstract Geometric Painting) by Vincent Pomilio Colorful abstract painting on panel made with mixed media in a bright red and blue palette acrylic, p...

The Portal Triptych is an abstract view through this portal-like structure, providing a window into an unique textural environment. In part Andrea's objective in curating an intricat...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

This large abstract contemporary statement painting by Roger Mudre features many light circle shapes, layered over one another in a concentric fashion and a cool blue and silver pale...

Acrylic, sand, and earth on paper. Signed, titled, and dated 1986 en verso. Michael Young Auto Biography I was born in 1952, in Kansas City, Kansas. My interest in art began as a child observing my father Eugene draw and paint in our basement at our home in Lansing, Kansas. At seventeen I enrolled into a two year Commercial Art program in Salina, Kansas. After graduation I found employment at an architectural illustration...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

This work is a limited edition print for a GA1221 work from the "Geometric Abstraction" series. Limited edition 2/10 Giclee print on Fine Art Paper - Canson® Infinity is a 100% co...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

original painting; acrylic, paper and pastels on high quality canvas stretcher. Finished off with a glossy varnish. 60 x 80 cm 23.6 x 31.5". The sides are painted and it’s ready to ...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

Watercolor and ink on paper of an abstract composition of brown, orange and blue shapes between black parallel lines throughout the the piece by Herbert Bayer (1900-1985). Presented in a custom black frame with all archival materials. Framed dimensions measure 17 ⅞ x 22 ⅝ x 1 inches. Image size is 10 ¼ x 15 ½ inches. Painting is clean and in very good condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Herbert Bayer enjoyed a versatile sixty-year career spanning Europe and America that included abstract and surrealist painting, sculpture, environmental art, industrial design, architecture, murals, graphic design, lithography, photography and tapestry. He was one of the few “total artists” of the twentieth century, producing works that “expressed the needs of an industrial age as well as mirroring the advanced tendencies of the avant-garde.” One of four children of a tax revenue officer growing up in a village in the Austrian Salzkammergut Lake region, Bayer developed a love of nature and a life-long attachment to the mountains. A devotee of the Vienna Secession and the Vienna Workshops (Wiener Werkstätte) whose style influenced Bauhaus craftsmen in the 1920s, his dream of studying at the Academy of Art in Vienna was dashed at age seventeen by his father’s premature death. In 1919 Bayer began an apprenticeship with architect and designer, Georg Schmidthamer, where he produced his first typographic works. Later that same year he moved to Darmstadt, Germany, to work at the Mathildenhöhe Artists’ Colony with architect Emanuel Josef Margold of the Viennese School. As his working apprentice, Bayer first learned about the design of packages – something entirely new at the time – as well as the design of interiors and graphics of a decorative expressionist style, all of which later figured in his professional career. While at Darmstadt, he came across Wassily Kandinsky’s book, Concerning the Spiritual in Art, and learned of the new art school, the Weimar Bauhaus, in which he enrolled in 1921. He initially attended Johannes Itten’s preliminary course, followed by Wassily Kandinsky’s workshop on mural painting. Bayer later recalled, “The early years at the Bauhaus in Weimar became the formative experience of my subsequent work.” Following graduation in 1925, he was appointed head of the newly-created workshop for print and advertising at the Dessau Bauhaus that also produced the school’s own print works. During this time he designed the “Universal” typeface emphasizing legibility by removing the ornaments from letterforms (serifs). Three years later he left the Bauhaus to focus more on his own artwork, moving to Berlin where he worked as a graphic designer in advertising and as an artistic director of the Dorland Studio advertising agency. (Forty years later he designed a vast traveling exhibition, catalog and poster -- 50 Jahre Bauhaus -- shown in Germany, South America, Japan, Canada and the United States.) In pre-World War II Berlin he also pursued the design of exhibitions, painting, photography and photomontage, and was art director of Vogue magazine in Paris. On account of his previous association with the Bauhaus, the German Nazis removed his paintings from German museums and included him among the artists in a large exhibition entitled Degenerate Art (Entartete Kunst) that toured German and Austrian museums in 1937. His inclusion in that exhibition and the worsening political conditions in Nazi Germany prompted him to travel to New York that year with Marcel Breuer, meeting with former Bauhaus colleagues, Walter Gropius and László Moholy-Nagy to explore the possibilities of employment after immigration to the United States. In 1938 Bayer permanently relocated to the United States, settling in New York where he had a long and distinguished career in practically every aspect of the graphic arts, working for drug companies, magazines, department stores, and industrial corporations. In 1938 he arranged the exhibition, “Bauhaus 1919-1928” at the Museum of Modern Art, followed later by “Road to Victory” (1942, directed by Edward Steichen), “Airways to Peace” (1943) and “Art in Progress” (1944). Bayer’s designs for “Modern Art in Advertising” (1945), an exhibition of the Container Corporation of America (CAA) at the Art Institute of Chicago, earned him the support and friendship of Walter Paepcke, the corporation’s president and chairman of the board. Paepcke, whose embrace of modern currents and design changed the look of American advertising and industry, hired him to move to Aspen, Colorado, in 1946 as a design consultant transforming the moribund mountain town into a ski resort and a cultural center. Over the next twenty-eight years he became an influential catalyst in the community as a painter, graphic designer, architect and landscape designer, also serving as a design consultant for the Aspen Cultural Center. In the summer of 1949 Bayer promoted through poster design and other design work Paepcke’s Goethe Bicentennial Convocation attended by 2,000 visitors to Aspen and highlighted by the participation of Albert Schweitzer, Arthur Rubenstein, Jose Ortega y Gasset and Thornton Wilder. The celebration, held in a tent designed by Finnish architect Eero Saarinen, led to the establishment that same year of the world-famous Aspen Music Festival and School regarded as one of the top classical music venues in the United States, and the Aspen Institute for Humanistic Studies in (now the Aspen Institute), promoting in Paepcke’s words “the cross fertilization of men’s minds.” In 1946 Bayer completed his first architecture design project in Aspen, the Sundeck Ski Restaurant, at an elevation of 11,300 feet on Ajax Mountain. Three years later he built his first studio on Red Mountain, followed by a home which he sold in 1953 to Robert O. Anderson, founder of the Atlantic Richfield Company who became very active in the Aspen Institute. Bayer later designed Anderson’s terrace home in Aspen (1962) and a private chapel for the Anderson family in Valley Hondo, New Mexico (1963). Transplanting German Bauhaus design to the Colorado Rockies, Bayer created along with associate architect, Fredric Benedict, a series of buildings for the modern Aspen Institute complex: Koch Seminar Building (1952), Aspen Meadows guest chalets and Center Building (both 1954), Health Center and Aspen Meadows Restaurant (Copper Kettle, both 1955). For the grounds of the Aspen Institute in 1955 Bayer executed the Marble Garden and conceived the Grass Mound, the first recorded “earthwork” environment In 1973-74 he completed Anderson Park for the Institute, a continuation of his fascination with environmental earth art. In 1961 he designed the Walter Paepcke Auditorium and Memorial Building, completing three years later his most ambitious and original design project – the Musical Festival Tent for the Music Associates of Aspen. (In 2000 the tent was replaced with a design by Harry Teague.) One of Bayer’s ambitious plans from the 1950s, unrealized due to Paepcke’s death in 1960, was an architectural village on the outskirts of the Aspen Institute, featuring seventeen of the world’s most notable architects – Walter Gropius, Marcel Breuer, I.M. Pei, Minoru Yamasaki, Edward Durrell Stone and Phillip Johnson – who accepted his offer to design and build houses. Concurrent with Bayer’s design and consultant work while based in Aspen for almost thirty years, he continued painting, printmaking, and mural work. Shortly after relocating to Colorado, he further developed his “Mountains and Convolutions” series begun in Vermont in 1944, exploring nature’s fury and repose. Seeing mountains as “simplified forms reduced to sculptural surface in motion,” he executed in 1948 a series of seven two-color lithographs (edition of 90) for the Colorado Springs Fine Arts Center. Colorado’s multi-planal typography similarly inspired Verdure, a large mural commissioned by Walter Gropius for the Harkness Commons Building at Harvard University (1950), and a large exterior sgraffito mural for the Koch Seminar Building at the Aspen Institute (1953). Having exhausted by that time the subject matter of “Mountains and Convulsions,” Bayer returned to geometric abstractions which he pursued over the next three decades. In 1954 he started the “Linear Structure” series containing a richly-colored balance format with bands of sticks of continuously modulated colors. That same year he did a small group of paintings, “Forces of Time,” expressionist abstractions exploring the temporal dimension of nature’s seasonal molting. He also debuted a “Moon and Structure” series in which constructed, architectural form served as the underpinning for the elaboration of color variations and transformations. Geometric abstraction likewise appeared his free-standing metal sculpture, Kaleidoscreen (1957), a large experimental project for ALCOA (Aluminum Corporation of America) installed as an outdoor space divider on the Aspen Meadows in the Aspen Institute complex. Composed of seven prefabricated, multi-colored and textured panels, they could be turned ninety degrees to intersect and form a continuous plane in which the panels recomposed like pieces of a jigsaw puzzle. He similarly used prefabricated elements for Articulated Wall, a very tall free-standing sculpture commissioned for the Olympic Games in Mexico...

This dynamic wall sculpture is created from sheets of steel, welded together in an abstract geometric pattern. Muted shades of blue, grey, purp...

Ralph Arnold, 'Cascade', mixed media: acrylic, pencil, conté crayon, marker, oil; 1986-88. Signed 'Arnold' and dated '86-88' in pencil, lower right. A fin...

Anthony Benjamin, 'Intitled', acrylic and gouache on gold leaf board, image size 8" x 10", 1999. Artist Estate Stamp on verso Provenance: From the Artist Estate A Gallery Certificat...

This dynamic wall sculpture is created from sheets of steel, welded together in an abstract geometric pattern. Earth tones of blue, orange, pur...

Turbulence VIII 42" x 100" Pigment, Graphite and Sumi Ink on Archival Paper Unique Framed 105.5" x 44.5": $18,000

Richard Smith Signature, 1997 Etching and Aquatint 22 3/4 × 18 inches Edition 17/25 Signed and numbered 17/25 in graphite on the lower front

Canvas collage, acrylic and crayon on canvas by 20th Century artist Margo Hoff (1910-2008) titled 'Lighted Street' depicting and abstract image of a street at night with glowing stre...

unraveled or worn at the edge

Description: Liu Gang(b.1965) 440201202 water-based and oil-based pigments on rice paper 138.6 by 290 cm Dated 2020 mounted and framed The artwork comes wi...

Turbulence III 64" x 42" Pigment, Graphite and Sumi Ink on Archival Paper Unique Framed 67.5" x 46.5": $12,500

Turbulence IV 64" x 42" Pigment, Graphite and Sumi Ink on Archival Paper Unique Framed 67.5" x 46.5": $12,500

Description: Liu Gang(b.1965) 440201202 water-based and oil-based pigments on rice paper 272 by 130.6 cm Dated 2021 mounted and framed The artwork comes wi...

Description: Liu Gang(b.1965) 421509102 water-based and oil-based pigments on rice paper 138.6 by 145 cm Dated 2019 mounted and framed The artwork comes wi...

This 48" x 34" mixed media painting, 'Surfacing II,' by Dragana Milovic features an abstracted geometric composition featuring 3d objects adhered to th...

unraveled or worn at the edge

Description: Liu Gang(b.1965) 480309102 water-based and oil-based pigments on rice paper 146.5 by 145.2 cm Dated 2019 mounted and framed The artwork comes ...

Description: Liu Gang(b.1965) 407208102 water-based and oil-based pigments on rice paper 182.7 by 182.7 cm Dated 2018 The artwork comes with an COA Sta...

Description: Liu Gang(b.1965) 502109102 water-based and oil-based pigments on rice paper 197.5 by 398 cm Dated 2019 mounted and framed The artwork comes wi...

Alexander Calder (after) Calder #1, 2001 100% silk scarf 33 × 35 inches - when unfolded and fully opened (Measures 10 square inches when folded an...

Abstract geometric artwork by a contemporary artist Gerald Wolfe. Gerald Wolfe’s wall pieces have a three-dimensional, architectural feel. The artist’s approach to his paintings is intuitive. He meticulously creates his works step by step, imbuing shapes and lines with energy. The interplay of forms, color, and texture creates tension between flatness and depth. His work can become a unique gift and will be a wonderful addition to any space, be it a living room of a modern home or a lobby of a commercial building. Gerald Wolfe received a Bachelor of Arts degree in history from the University of Maryland in 1972, discovered his interest in art and went on to study fine arts at the School of Visual Arts in New York City. In the summer of 1974, he also studied at Skowhegan School of Painting and Sculpture in Maine. From his first show in 1979, a summer invitational at OK Harris Gallery, Gerald has shown his work on a consistent basis in New York, including such galleries as Denise Bibro Fine Art, NYC, and Kim Foster Gallery, NYC . In addition, he has had solo exhibits at the Paterson Museum in Paterson, New Jersey...

Abstract geometric artwork by a contemporary artist Gerald Wolfe. Gerald Wolfe’s wall pieces have a three-dimensional, architectural feel. The artist’s approach to his paintings is intuitive. He meticulously creates his works step by step, imbuing shapes and lines with energy. The interplay of forms, color, and texture creates tension between flatness and depth. His work can become a unique gift and will be a wonderful addition to any space, be it a living room of a modern home or a lobby of a commercial building. Gerald Wolfe received a Bachelor of Arts degree in history from the University of Maryland in 1972, discovered his interest in art and went on to study fine arts at the School of Visual Arts in New York City. In the summer of 1974, he also studied at Skowhegan School of Painting and Sculpture in Maine. From his first show in 1979, a summer invitational at OK Harris Gallery, Gerald has shown his work on a consistent basis in New York, including such galleries as Denise Bibro Fine Art, NYC, and Kim Foster Gallery, NYC . In addition, he has had solo exhibits at the Paterson Museum in Paterson, New Jersey...

unraveled or worn at the edge

MA (間 ) Is a Japanese term that can be translated as "interval", "space", "pause" or "empty space between two structural elements." It is an aesthetic, philosophical and artistic concept, also frequently used in everyday life. It is also linked to the Mahāyāna Buddhist philosophy, in which the doctrine of emptiness is central MA, intended as "void full of meaning", used in art «An imaginary room that is in an indefinite position between the sky and the earth, is said to be the original way to represent the concept of but. We imagine both spatial and temporal uncertainty simultaneously: the room is neither in one place nor in the other, it is in an indescribable space " Delineating space spontaneously marks non-outlined voids, which is where freedom of interpretation and reflection can fill it up. This empty space is profoundly beautiful, full of mystery and promise. In significant ways the empty space contributes a unique quality of structure, balance and definition in a composition. In this series, extra attention is paid to the structures and textures of original and natural materials, and organic shapes. For the beholder, the empty space is calming as well as energizing. Mahmoud Saleh Mohammadi...

unraveled or worn at the edge

unraveled or worn at the edge

unraveled or worn at the edge

unraveled or worn at the edge

Jacqueline Dee Parker’s collages are interdisciplinary in approach and concept. Her materials include antique literature and music books and other e...

Rolph Scarlett Untitled Mid-Century Modern Geometric Abstraction, ca. 1950 Gouache on paper painting Hand signed on lower right front This is a stunning original, signed vintage 1950...

This 40" x 40" acrylic on canvas painting, 'Levitation,' by Dragana Milovic depicts a fantastical abstracted landscape of geometric shapes and lines in...

Jacqueline Dee Parker’s collages are interdisciplinary in approach and concept. Her materials include antique literature and music books and other e...

Jacqueline Dee Parker’s collages are interdisciplinary in approach and concept. Her materials include antique literature and music books and other e...

MA (間 ) Is a Japanese term that can be translated as "interval", "space", "pause" or "empty space between two structural elements." It is an aesthetic, philosophical and artistic concept, also frequently used in everyday life. It is also linked to the Mahāyāna Buddhist philosophy, in which the doctrine of emptiness is central MA, intended as "void full of meaning", used in art «An imaginary room that is in an indefinite position between the sky and the earth, is said to be the original way to represent the concept of but. We imagine both spatial and temporal uncertainty simultaneously: the room is neither in one place nor in the other, it is in an indescribable space " Delineating space spontaneously marks non-outlined voids, which is where freedom of interpretation and reflection can fill it up. This empty space is profoundly beautiful, full of mystery and promise. In significant ways the empty space contributes a unique quality of structure, balance and definition in a composition. In this series, extra attention is paid to the structures and textures of original and natural materials, and organic shapes. For the beholder, the empty space is calming as well as energizing. Mahmoud Saleh Mohammadi...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

Susan Hensel designs images in the computer using specialized software.  It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...

Mixed media on canvas Dark natural wood exterior frame Framed dimensions: 156 x 110 cm Signed front and back

Pink Balance, Abstract Mixed Media Collage on Paper, 2021 7" x 7" (HxW), hand-signed by the artist This collage features layers of cut paper featuring both flat colors of pink, purp...

Abstract textured biomorphic shape painted with bright blue pigment by contemporary Houston, TX artist Matthew Reeves. The work is designed to hang away from the wall and cast a shad...

Susan Hensel designs images in the computer using specialized software.  It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...

Susan Hensel designs images in the computer using specialized software.  It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...

Susan Hensel designs images in the computer using specialized software.  It is a form of drawing in stitches that combines aspects of both Adobe Photoshop...

Acrylic and canvas collage on canvas by 20th century artist Margo Hoff (1910-2008). An abstract geometric painting in Margo's signature style of canvas collage, laying bits of canva...