Gouache Abstract Paintings

Pierre MONTHEILLET (1923-2011) Composition in grey Gouache and wash on laid paper Signed "Montheillet" lower right Dimensions of the work: 24 x 32 cm Dimensions of the frame: 40 x 50...

A painting by Alexander Calder. "Vive" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks, and blues by artist Alexander Calder. The artwork is signed lower right, "Calder 72...

A painting by Alexander Calder. "The Oval Spiral" is a Post-War, geometric abstract painting, gouache and ink on paper in bold colors of reds and blacks by artist Alexander Calder. T...

1970s abstract expressionist gouache on paper by Belgian artist André Pierard painted in Provence in the south of France. A highly colourful and energetic abstract painting. The st...

Pierre MONTHEILLET (1923-2011) Composition in yellow Watercolor and gouache on paper Signed lower left Dimensions of the work: 50 x 65 cm Dimensions of the frame: 60 x 80 cm Pierre ...

Rooftop view of the upper West Side Manhattan as it looked in the 1930s. There is a rough indication of a billboard and a glimpse of the Hudson River. The cluster of buildings depic...

An African village scene is characterized by bold colors and a punchy flat orange sky combined with a post-impressionist paint application for the tree and the house. In the foreground, we see an African mother with two children standing outside her "Home." The work is created by African American artist Vincent D. Smith. It is signed lower right, Vincent, showing homage to Vincent Van Gogh, from whom the art word borrows some influence. Clearly, Smith has developed his own personal style, combining an African American persona with an African subject matter. Original metal frame under glass. The uploaded video is coming up light. Use the still image as a reference for color. Vincent DaCosta Smith (December 12, 1929 – December 27, 2003) was an American artist, painter, printmaker and teacher. He was known for his depictions of black life. Early life Vincent DaCosta Smith was born on December 12, 1929, in the Bedford-Stuyvesant[1] neighborhood of Brooklyn, to Beresford Leopole Smith and Louise Etheline Todd. Both were immigrants from Barbados.[2] He was raised in Brownsville, Brooklyn and Smith drew what he saw around him.[citation needed] He attended an integrated school where he studied piano and the alto sax. worked a range of jobs before he became a full-time artist. At 16, he worked for the Lackawanna Railroad repairing tracks. At 17, Smith enlisted in the army and traveled with his brigade for a year.[3] It wasn't until after his time in the army that Smith began to paint and printmaking.[4] At the age of 22, Smith was working in a post office where he grew to be friends with fellow artist Tom Boutis.[1] Art education Tom Boutis took Smith to a Paul Cézanne show at the Museum of Modern Art in 1951. After seeing the Cézanne show, Smith resigned from his position at the post office and began reading extensively about art. He studied at the Art Students League of New York with Reginald Marsh.[citation needed] Later, he began to sit in on classes at the Brooklyn Museum Art School, where the instructors would let him join in on the lessons and the criticisms.[3] After attending classes at the Brooklyn Museum Art School and the Art Students League of New York, he was accepted and received a scholarship to the Skowhegan School of Painting and Sculpture in Maine,[4] where he studied from 1953 to 1956. Beginning in 1954,[5] he started taking official classes at the Brooklyn Museum Art School, and studied painting, etching, and woodblock printmaking.[4] Career Smith was a figurative painter who used abstractions and materiality to make something new.[6] Smith's work depicts the rhythms and intricacies of black life through his prints and paintings.[7] Many of his paintings and prints rely heavily on patterns.[6] According to Ronald Smothers, Vincent D. Smith's work "stood as an expressionistic bridge between the stark figures of Jacob Lawrence and the Cubist and Abstract strains represented by black artists like Romare Bearden and Norman Lewis."[7] Smith has described his own work as "a marriage between Africa and the West."[3] Over his life, he worked in both painting and printmaking. In 1959, Smith won the John Hay Whitney Fellowship which allowed him to travel to the Caribbean for a year.[8] During this year he was deeply inspired by the customs and lifestyle of the native people.[8] Throughout his life, Smith attended various art schools but it was not until turning 50 he returned to college to earn an official degree.[7] From 1967 until 1976 he taught at the Whitney Museum’s Art Resource Center.[2] Later in 1985, he taught printmaking at the Center for Art and Culture of Bedford Stuyvesant. Death and legacy Smith died in Manhattan on the December 27, 2003 from lymphoma and related complications.[7] Smith was aged 74.[7] His work is included in many public museum collections including Art Institute of Chicago,[9] Newark Museum of Art,[1] Museum of Modern Art (MoMA),[1] Metropolitan Museum of Art,[1] Yale University Art Gallery,[10] Davidson Art Center,[11] Fitzwilliam Museum,[12] Brooklyn Museum,[13] Albright-Knox Art Gallery,[14] Rhode Island School of Design Museum,[15] among others. Exhibitions Over the course of his career, he had over 25 one-man shows and had his work shown in over 30 group shows.[7] Vincent D. Smith had shown in a range of galleries and museums over his life-span. In 1970, he had his first individual exhibition at the Fisk University in Nashville, Tennessee. His first retrospective was in 1989 at the Schenectady Museum in Schenectady, New York.[2] Solo shows: 1974 - The Portland Museum of Art, Portland, Maine[2] 1974 - Studio Museum in Harlem, New York, New York[2] 1989 - Schenectady Museum (Retrospective 1964-1989), Schenectady, New York Awards and honors This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (May 2020) (Learn how and when to remove this template message) 1959 – John Hay Whitney Fellowship, John Hay Whitney Foundation, New York City, New York[8] 1967 – Artist in Residence, Smithsonian Conference Center 1968 – Grant, The American Academy and National Institute of Arts and Letters, New York 1971 – Creative Public Service Award for the Cultural Council Foundation, New York 1973 – National Endowment of the Arts and Humanities Travel Grant, New York 1973-1974 – Childe Hassam Purchase Award, American Academy of Arts and Letters, New York City, New York 1974 – Thomas P. Clarke Prize, National Academy of Design, New York 1981 – Windsor and Newton Award, National Society of Painters in Casein and Acrylic , New York. 1985-1986 – Artist-in-Residence, Kenkeleba House Gallery, New York. Works Below are some selected works: Study for Mural at Boys and Girls High School, 1972, Metropolitan Museum of Art, New York, New York A Moment Supreme, 1972, Metropolitan Museum of Art, New York, New York The Triumph of B.L.S., 1973, Metropolitan Museum of Art, New York, New York Jonkonnu Festival, 1996, Metropolitan Museum of Art, New York, New York Murals Mural for Crotona/Tremont Social Service Center, The Human Resource Administration, New York, New York 1980[1] Mural for Oberia D. Dempsey Multi-Service Center of Central Harlem, New York, New York 1989[1] Publications Print portfolios Impressions: Our World, Volume I (a portfolio of seven etchings - five with aquatint, two with embossing). Emma Amos, Benny Andrews, Vivian Browne, Eldzier Cortor...

Josine Vignon (French 1922-2022) ...

'Cubist Still Life', gouache on paper, from the Italian School of artists (circa 1940s). Surely this very attractive piece was inspired by Juan Gris (1887-1927) and Georges Braque's ...

Charles Evans (1907-1992) Mediterranean Costal Town, 1932. Gouache and watercolor on paper. Sheet measures 8.5 x 10 inches; mounted in frame measuring 8.5 x 10 inches. Signed and dated lower left. Charles Evans was a modernist known for his abstract style of painting. He studied at New York's Art Students League and Parsons School of Design, and later in Paris with Fernand Lger at the Acadmie Moderne. In 1930, Evans and his wife spent a year living in what was Paul Cezanne's studio in Aix-en-Provence, France. The following year, Evans purchased the old silk mill in New Hope and became involved in the area's modernist movement, joining the Independents in 1932. By 1935, he began to work collaboratively with Louis Stone, whom he had met in 1929 while studying with Hans Hofman in Saint Tropez, and with Charles F. Ramsey, teaching art classes and working on the Cooperative Painting Project. Every week, the three were joined by the abstract painter, Lee Gatch, in discussions at Ledger's Inn in Lambertville. In 1948 Evans co-founded the New Hope Gazette with Walter M. Teller. The same year he created set designs for St. John Terrell's Lambertville Music Circus. He also designed sets for the Bucks County Playhouse and Philadelphia's Playhouse in the Park. He later served as Set Designer for the Fred Miller...

'Fish, Dove and Musical Instrument', gouache on paper, from the Italian School of artists (circa 1940s). Surely this very attractive piece was inspired by Georges Braque (1882-1963) ...

Irene Rice Pereira, Mixed Media on Paper (American, 1902-1971) Titled "The East Wind Carries the Seed" Hand signed l.r. "I. Rice Pereira". Paper: 14.1/8"h x 18.25"w Irene Rice Pe...

Original Mid-Century oil on canvas composition by American Artist Edith E. Ferullo (1928 - 2008). The painting features a thick textured abstract nude subject. The brutalist artwork ...

Oil pastel and gouache on paper An artist whose work was simultaneously figurative and abstract, Brodie was praised as "one of the best painters of his generation" by art historian, ...

Gouache and pastel on paper An artist whose work was simultaneously figurative and abstract, Brodie was praised as "one of the best painters of his generation" by art historian, Mey...

Flower Abstract by Guy Nicod (French 1923 - 2021) gouache on artist paper, unframed painting : 25 x 19.5 inches stamped verso provenance: artists estate, France condition: very good ...

Maurice MOREL said l’abbé Morel (1908-1991) Untitled, composition in black, orange, green and plum Mixed media on glossy paper (cut-out magazine page) Signed on reverse 23 x 10 cm So...

James Balla Untitled gouache painting, 1992 Mixed Media Oil on Linen Signed and dated on the front of the work; the verso of the frame bears the UFO (Albert Merola) gallery label. F...

Pierre MONTHEILLET (1923-2011) Composition in green and yellow Watercolor and gouache on paper Signed lower left Dimensions of the work: 50 x 65 cm Dimensions of the frame: 60 x 80 c...

Striking in colour and form, this contemporary composition is by Yvonne Lammerich. The Canadian artist has garnered an international reputation for her inspired exploration of abstra...

Pastel on paper Collection of Samuel Esses, then by descent in the family Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him, R...

This bold contemporary composition by Yvonne Lammerich is an intriguing exploration of colour and form. Origami-like folded shapes inter-connected by fine lines dance across this col...

Abstract by Helen Greenfield (British 20th century) gouache/newspaper painting on board, unframed board: 25 x 30 inches condition: overall very good provenance: all the paintings w...

Untitled Mixed media on paper, 1981 Signed and dated 1981 lower left (see photo) Provenance: Knoedler Gallery, New York (label) Charles Cowles Gallery, New York The Collection of Jan...

Bright Abstract by Helen Greenfield (British 20th century) gouache painting on artist paper, unframed paper: 22 x 30 inches condition: overall very good provenance: all the paintin...

Signed lower right, 'K. Sanzenbach' for Keith Sanzenbach (American, 1931-1964) and dated 1956. Additionally signed, verso, and with the artist's Lagunitas, California address. The ...

Hay Bails by Helen Greenfield (British 20th century) gouache painting on artist paper, unframed painting: 14 x 20 inches condition: overall very good provenance: all the paintings w...

Black and White Landscape by Helen Greenfield (British 20th century) signed initials gouache painting on thin board, unframed board: 15.5 x 32 inches condition: overall very good pr...

Martin Rosenthal "Stained Glass" c. 1960s Gouache on paper 16"x11.25" unframed Unsigned Martin Rosenthal 1899-1974 Artist Martin Rosenthal was born in Woburn, MA. He completed milit...

Black and White Abstract by Helen Greenfield (British 20th century) signed initials gouache painting on thin board, unframed board: 15.5 x 32 inches condition: overall very good pr...

A fluid wash of bubblegum pink fills the surface of this painting. Ricard has written in bright yellow, blue, and vivid silver the following: So how do you be friends w/a whore? Business being business/Ethically, a ho can’t rat on its tricks; so if the ho is hohoing yr husband Damned if you’ll ever find out. March 26. Whore sharply contrasts the beauty of silver, yellow, and pink with Rene’s pithy, obscene pronouncement. The pink ground is applied in a sheer wash, like Male Cinderella’s background, and the artist’s cursive shimmers in the same silver as One Shoe One You / True Love, Size 3?, and This is not a thanksgiving pumpkin. While Whore shares enticing formal qualities with other works in this group, the text snaps us to cold reality, down into the gutter with a bump. Ricard is happy to visit a fairy tale, but doesn’t stays in the fantasy for long. There’s an intimacy to this work’s smaller scale which compels the viewer to lean in and decode Ricard’s poetry. The artist’s outsized signature is with initials in dark blue, which pop out against that beautiful saturated pink. Canvas floater frame, in maple with .25 inch moulding. Whore is part of a group of works dating from 1989-1990 as Rene Ricard prepared for Mal de Fin at the Petersburg Gallery, New York, in 1990, his very first one-man exhibition. Born Albert Napoleon Ricard, he moved to New York in the 1960s at the age of 18. With that relocation, Albert died, and Rene was born. Instantly adopted into Andy Warhol’s glittering orbit, Ricard thrived in the city, with its heady concentration of art, culture, and debauchery. In New York Ricard found the milieu where he would shine. He acted in underground films, playing Warhol in the artist’s own Andy Warhol Story. He became a renowned poet and writer, published in the Paris Review and Artforum. In typically wry fashion he explained how he became a painter: “I began adding images [to my poetry] because I’ve always liked to draw and paint. And it was hard to find junk-store paintings of the right quality, things that could support some writing, so I just started making the images myself. Unfortunately, people really like that, even though I far prefer just the writing.” Ricard drew on his vast knowledge of literature and art history, weaving these references together with bursts of autobiographical poetry: what the New York Times termed his “seething verbal finesse.” Ricard, having spent years in the Factory’s milieu, learned from Warhol’s creative strategies. Warhol created images quickly with screen printing, with no regard for perfection. Duplication was the method and the ideology. Ricard, too, worked quickly: urgency was part of his visual language of looped cursive and scribbled colors. He often borrowed a lithographic plate or silkscreen from already-completed works, printing the matrix on canvas or paper to create backgrounds for new works (Size 3’s red printed background may be an example of this). He appropriated thrifted paintings and discarded items such as a pinboard or a piece of insulation, so long as the object in question had a flat surface upon which to work. The two artists were both outsiders to the art world in a sense—Warhol coming from the world of design and Ricard, a bona fide author, but both intuitively understanding how to compel the viewer. As Warhol anthologized consumerism, Ricard catalogued desire. For example, Size 3 and One Shoe One You feature Ricard’s take on Warhol’s famous shoe drawings...

This gouache reveals a butterfly tree with wings covered in multiple eyes towards the observer. In this primitive kaleidoscope playing with perspectives, the artist Rupert Picott leads us into a dance of forms, half-animal, half-vegetal. Here, we can breathe a nature distanced from civilization, a shattered, psychedelic dimension that opens the doors of a hallucinated perception. This gouache transcends its physical form. Like a dream woven into reality, it beckons viewers to question the boundaries of their consciousness. Each brushstroke becomes a portal to a realm where the mundane and the mystical intertwine, blurring the lines between what is seen and felt. In this dialogue between forms and colors, Rupert Picott offers us not just a painting but a glimpse into the infinite expanse of the human experience, echoing William Blake’s timeless wisdom: ‘If the doors of perception...

Paul Pagk Untitled Geometric Abstraction, 1989 Gouache and watercolor on paper Signed, dated and inscribed "A Jacqueline". Frame included Excellent unique work on paper by contempora...

Joan Miro. Original single piece mixed technique painting Joan Miro Ferra 1893-1983 Original Study for “EL GOLAFRE ".NOT SIGNED 1979 Unique. Gouache, lithotint and crayon on paper ...

Black And White Abstract - Oil And Gouache On Paper Black and white abstract painting by Felix Ruvolo (American, 1912-1992). Grey takes over the center of the paper with strokes of ...

Jack Wolfe Untitled, 1965 Acrylic and collage on board Hand signed on the front Frame included: held in original vintage frame with original gallery label Unique Provenance: Parker S...

Abstract Composition signed by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 9.25 x 10 inches condition: very good provenance: from a large private c...

Signed lower right, 'Schoener' for Jason Schoener (American, 1919-1997) and painted circa 1970. Titled 'Choruscating Landscape' (labels, verso). Accompa...

Abstract Composition by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 15.5 x 20.5 inches condition: very good provenance:...

Abstract Composition Portraits by Sally Vaughan (contemporary) set of two (2) x gouache paintings on card, unframed measurements: 10.5 x 5.25 and 10.5 x 5 inches condition: very good...

Abstract Composition by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 6 x 6.75 inches condition: very good provenance: fr...

Untitled Large Seascape Abstract Mixed Media Ink and gouache wash on paper board about 1970s, Artist signed lower right corner. Lim Ha Shan, was born in Seoul, Korea in 1945. The ...

Abstract Composition signed by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 9 x 9.5 inches condition: very good provenance: from a large private coll...

Abstract Composition by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 6 x 6 inches condition: very good provenance: from ...

Abstract Composition by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 5.75 x 8 inches condition: very good provenance: from a large private collection...

Abstract Composition by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 8.75 x 6.75 inches condition: very good provenance: from a large private collec...

Abstract Composition by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 4.75 x 6 inches condition: very good provenance: fr...

Abstract Composition by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 8 x 5 inches condition: very good provenance: from ...

Abstract Composition signed by Sally Vaughan (contemporary) dated 89' gouache painting on card, unframed measurements: 9.5 x 9.5 inches condition: very good provenance: from a large ...

Gloria Dudfield (1922-2015) Untitled c.1960s Mixed media: gouache, pastel and encaustic on newsprint 11"x15.5" unframed Unsigned Gloria (Fischer) Dudfield July 12, 1922 – May 27, 20...

Abstract Composition signed by Sally Vaughan (contemporary) dated 89' gouache painting on card, unframed measurements: 12 x 11 inches condition: very good provenance: from a large pr...

Abstract Composition signed by Sally Vaughan (contemporary) gouache painting on card, unframed ( frame used in photos are for display purposes only. Not including in purchase.) meas...

Abstract Composition by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 9.5 x 8 inches condition: very good provenance: fro...

Abstract Composition by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 9 x 8 inches condition: very good provenance: from a large private collection o...

Abstract Composition by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 9 x 11 inches condition: very good provenance: from a large private collection ...

Abstract Composition signed initials by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 6.5 x 7 inches condition: very good provenance: from a large pri...

Abstract Composition by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 7 x 7.75 inches condition: very good provenance: fr...

Abstract Composition signed by Sally Vaughan (contemporary) gouache painting on card, unframed ( frame used in photos are for display purposes only. Not including in purchase.) meas...