Oil Crayon Abstract Paintings

Jim Stella 2012 Mixed Media Oil, Acrylic, Oil Stick and Collage 68 x 63 inches Jim Stella was born in Detroit in 1954 and was attracted to art from an ear...

Wild Silence Oil, Bitumen, Crayon, Collage On Canvas 48" x 36 1/4" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of paintin...

"Ghosts of the Gardens" is a mysterious and captivating abstract painting, evoking the untamed beauty of wild gardens and chaotic floral motifs with its energetic and loose movement....

Songs From Soil Oil, Bitumen, Crayon, Collage On Canvas 72" x 60" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of painting...

Tiller (Hideaway) Oil, Asphalt, Crayon On Canvas 24" x 20" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of painting employ...

Ghost Wood Oil,Bitumen, Crayon, Sand, Collage On Canvas 16" x 20" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of painting...

Somewhere In The City Oil, Bitumen, Crayon, Collage On Canvas 30" x 24" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of pa...

A wonderful, museum caliber painting by Craig Kauffman. Initialed "CK" and dated "82" in the lower right corner. PROVENANCE: Asher Faure Gallery Luther Vandross Luther Vandross Estate Private Collection, New York Private Collection, San Diego, CA EXHIBITED: Asher Faure Gallery, Los Angeles, California, CRAIG KAUFFMAN: NEW PAINTINGS April 23 through May 21,1983 CATALOGUE: Craig Kauffman Estate Archive Number CR No: P.1982.2 The following is from The New York Times, May 15, 2010, By Douglas Martin Craig Kauffman, who in the 1960s helped put Los Angeles on the art map with audacious experiments in molding industrial plastic to create ethereal wall-mounted sculptures — some resembling giant pieces of jelly candy — died Sunday in Angeles City in the Philippines. He was 78. The cause was complications of pneumonia following a recent stroke, said Frank Lloyd, his friend and dealer. Mr. Kauffman was eminent in an eclectic group of artists who reveled in the light, space and energy of postwar Southern California to forge new Minimalist, often glossy artistic approaches. Richard Armstrong, director of the Guggenheim Museum said that these Californians, sometimes called the Cool School — along with Chicago Imagists and Washington, D.C., painters called the Color School — were counterpoints to the Abstract Expressionists who ruled New York. "California was never ashamed of being a new society," Mr. Armstrong said in an interview on Thursday, "it all fit together nicely." Los Angeles was then ascending to the status of a metropolis, with a growing number of major-league sports teams, fresh industries and a surging population. There were new quarters for public galleries and the burgeoning of commercial ones. At the center of the action was the Ferus Gallery, which staged the first solo exhibition of Andy's Warhol's pop art and the first American retrospective of Marcel Duchamp. Mr. Kauffman was a featured artist at the gallery's inaugural exhibition in 1957, "Objects on the New Landscape Demanding of the Eye." Peter Plagens, in his book Sunshine Muse: Art on the West Coast, 1945-1970, (1974, 1999), wrote, "'Culture' meant 'art' and 'art' implied 'new,' and 'new,' as everybody was informed, meant California — particularly Los Angeles." The artists who seized this historic opportunity included Billy Al Bengston, Ken Price and Robert Irwin, among others. In an interview on Wednesday, Arne Glimcher, founder and chairman of Pace Gallery, which had Mr. Kauffman's first New York show in 1967, called the California scene in the late '50s and early '60s "a pressure cooker of ideas." Referring to artistic styles, he said, "It was California perfection against New York messiness." Mr. Kauffman's early paintings were critical in defining this new style. Mr. Plagens called them "the first evidence of a Los Angeles sensibility." Mr. Kauffman's later work blazed splashier trails, as he experimented with the effects of light on works that were painterly yet three-dimensional. "The true power of what he did was his incorporation and then redirection of light inside sculpture," said Mr. Armstrong, who was the curator of a show of Mr. Kauffman's work at the Whitney Museum of American Art in 1987. "Many of them glowed," he said. "Others were translucent. Even the supposedly opaque had a noteworthy shimmering quality to them." What Mr. Kauffman made reflected a wide range of inspirations. In a 2008 video interview in conjunction with a show at the Armory Center for the Arts in Pasadena California, he said that the famed lingerie store Frederick's of Hollywood provided artistic nurture. With a smile, he confessed to a "shoe fetish" that had influenced some of his art. Robert Craig Kauffman was born on March 31, 1932, in Los Angeles. He started painting regularly at age 7 and went to theUniversity of Southern California to study architecture in 1950. But art soon won out over architecture, and he transferred to the University of California Los Angeles, to study painting. He earned Bachelor's and Master's degrees there. A breakthrough came in the early 1960s when he experimented with painting on glass, but found it too fragile. He then painted on flat acrylic plastic. His next inspiration came from the plastic packaging increasingly used to wrap merchandise. He sought out craftsmen at commercial factories to learn the technique, Time magazine reported in 1968. The results were several series of three-dimensional wall hangings. Some were inspired by large plastic fruit clusters on the wall of a doughnut shop he frequented in Los Angeles. These lozenge-shaped reliefs were sometimes called "bubbles." Barbara Rose, in a catalog essay for an exhibition at the Washington Gallery of Modern Art in 1967, wrote, "Shaping the brittle sheet plastic into a series of voluptuous curves, Kauffman achieves a kind of abstract eroticism that is purely visual." Mr. Kauffman's work was shown in countless exhibitions and many one-man shows. It has been acquired by the Museum of Modern Art in New York, the Tate Modern in London, the Art Institute of Chicago and the Los Angeles County Museum of Art, among others. In 2006, one of Mr. Kauffman's reliefs fell from a wall of the Georges Pompidou Center in Paris, where it was part of an exhibition titled "Los Angeles: Birth of an Art Capital, 1955-1985." It shattered. After storms of publicity, the Pompidou provided technical help and money to make a new version. Mr. Kauffman was married several times. He is survived by his daughters from his marriage to Dana Kauffman, from whom he was separated: Wilhelmina, Vida Rose and Georgia Kauffman. When they started in the 1960s, Mr. Kauffman and his artistic compatriots did not foresee a legacy, much less earning an income, Larry Bell, a prominent artist in the group, said in an interview on Wednesday. "The troops sort of banded together to be our own audience," he said. "Every once in a while, we'd sell...

Love Wins is an expressive mixed media painting on watercolor paper. It has bold multiple strokes of color in mixed media from acrylic, to oil pastel, to charcoal. It is executed lay...

Jim Stella 2012 Mixed Media Oil, Acrylic, Oil Stick and Collage 100 x 67 inches Jim Stella was born in Detroit in 1954 and was attracted to art from an ea...

The painting "You Crossed My Mind Today" is a mix of colors and brushstrokes. It's like emotions splashed on canvas, with bold contrasts and subtle blends. It feels like a nostalgic ...

Jim Stella 2012 Mixed Media Oil, Acrylic, Oil Stick and Collage 68 x 63 inches Jim Stella was born in Detroit in 1954 and was attracted to art from an ear...

Jessie’s instinctive way of working explores the language of paint and mark making to evoke emotions in the viewer, aiming to communicate how pure abstract work can generate visual e...

"Forest Lights" is an abstract painting by TUSET. It is a beautiful abstract architectural painting of unique blurry shapes brushstrokes. The painting was made with oil crayon on wat...

Jim Stella Triptych 2017 Mixed Media Oil, Acrylic, Oil Stick and Collage 48 x 72 in  24" x 48" in  each panel  Jim Stella was born in Detroit in 1954 and was attracted to art from an early age. He attended University of Detroit Jesuit high school where he was inspired by art teacher Jim Bridenstien. In 1973 he attended Pratt Institute, NY where he studied sculpture and anatomy. He later returned to Michigan to attend the University of Michigan on a medical illustration scholarship.Stella graduated with high honors. He continued his artistic education at the College for Creative Studies in Detroit, where he studied watercolor under the direction of Richard Jersey...

Jim Stella 2017 Mixed Media Oil, Acrylic, Oil Stick and Collage 90" x 68" inches Jim Stella was born in Detroit in 1954 and was attracted to art from an early age. He attended University of Detroit Jesuit high school where he was inspired by art teacher Jim Bridenstien. In 1973 he attended Pratt Institute, NY where he studied sculpture and anatomy. He later returned to Michigan to attend the University of Michigan on a medical illustration scholarship.Stella graduated with high honors. He continued his artistic education at the College for Creative Studies in Detroit, where he studied watercolor under the direction of Richard Jersey...

Jim Stella 2017 Mixed Media Oil, Acrylic, Oil Stick and Collage 51" x 35" inches Jim Stella was born in Detroit in 1954 and was attracted to art from an early age. He attended University of Detroit Jesuit high school where he was inspired by art teacher Jim Bridenstien. In 1973 he attended Pratt Institute, NY where he studied sculpture and anatomy. He later returned to Michigan to attend the University of Michigan on a medical illustration scholarship.Stella graduated with high honors. He continued his artistic education at the College for Creative Studies in Detroit, where he studied watercolor under the direction of Richard Jersey...

« I believe painting is all about gesture and flow. Painting is nowness. » his piece is from the series "Geologies" My father was a geologist, I kept as a treasure his field noteboo...

In the weeds ink bloom #6 (Abstract painting) Charcoal & Oilstick on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositions, on supports that are themselves often thick, and even sculptural. He scratches and scrawls across his surfaces, infusing visceral emotion and energy into the work. His imagery is so layered and dimensional that even his works on paper convey a sense of texture and depth. Critics have connected Baribeau to a range of aesthetic positions, including everything from Abstract Expressionism and Pop Art to the 19th century Hudson River School, and compared him variously to the likes of Robert Rauschenberg, Joan Mitchell, Cy Twombly, and Willem de Kooning. In truth, Baribeau employs a distinctive aesthetic voice that is personal and instantly recognizable, despite its multiplicity. His visual world is one where primordial, organic nature collides with the geometric, manufactured world, and where certain signature visual cues, such as black and white stripes, checkerboards, dots, and flashes of neon color appear and disappear. His work is included in several institutional collections, including those of the Neuberger Museum, Purchase, NY; Morgan Stanley...

Unframed, this piece measures 16 x 12. Karen Blair lives in Charlottesville, Virginia where the surrounding mountains provide daily inspiration for her work. Her own garden and thos...

Last year I focused on botanicals. How can I make a flower even more compelling than it already is? It held my attention and I’ll likely come back to it agai...

In the weeds ink bloom #5 (Abstract painting) Charcoal & Oilstick on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into vis...

In the weeds ink bloom #4 (Abstract painting) Charcoal & Oilstick on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into vis...

In the weeds ink bloom #3 (Abstract painting) Charcoal & Oilstick on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositions, on supports that are themselves often thick, and even sculptural. He scratches and scrawls across his surfaces, infusing visceral emotion and energy into the work. His imagery is so layered and dimensional that even his works on paper convey a sense of texture and depth. Critics have connected Baribeau to a range of aesthetic positions, including everything from Abstract Expressionism and Pop Art to the 19th century Hudson River School, and compared him variously to the likes of Robert Rauschenberg, Joan Mitchell, Cy Twombly, and Willem de Kooning. In truth, Baribeau employs a distinctive aesthetic voice that is personal and instantly recognizable, despite its multiplicity. His visual world is one where primordial, organic nature collides with the geometric, manufactured world, and where certain signature visual cues, such as black and white stripes, checkerboards, dots, and flashes of neon color appear and disappear. His work is included in several institutional collections, including those of the Neuberger Museum, Purchase, NY; Morgan Stanley...

In the weeds ink bloom #1 (Abstract painting) Charcoal & Oilstick on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into vis...

In the weeds ink bloom #4 (Abstract painting) Charcoal & Oilstick on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositions, on supports that are themselves often thick, and even sculptural. He scratches and scrawls across his surfaces, infusing visceral emotion and energy into the work. His imagery is so layered and dimensional that even his works on paper convey a sense of texture and depth. Critics have connected Baribeau to a range of aesthetic positions, including everything from Abstract Expressionism and Pop Art to the 19th century Hudson River School, and compared him variously to the likes of Robert Rauschenberg, Joan Mitchell, Cy Twombly, and Willem de Kooning. In truth, Baribeau employs a distinctive aesthetic voice that is personal and instantly recognizable, despite its multiplicity. His visual world is one where primordial, organic nature collides with the geometric, manufactured world, and where certain signature visual cues, such as black and white stripes, checkerboards, dots, and flashes of neon color appear and disappear. His work is included in several institutional collections, including those of the Neuberger Museum, Purchase, NY; Morgan Stanley...

In the weeds ink bloom #2 (Abstract painting) Charcoal & Oilstick on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into vis...

In the weeds ink bloom #2 (Abstract painting) Charcoal & Oilstick on paper - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into vis...

Victoria Barr Spirit, 1974 Crayon on Paper Signed and dated lower right front Frame included Provenance: Fischbach Gallery, New York, NY This bright, abstract 1970s artwork was created by Victoria Barr, daughter of the legendary developer of the Museum of Modern Art, Alfred H. Barr. There is a Fischbach Gallery label on the back of the frame. The Fischbach Gallery was, for many years, the gallery of record for the American artist Alex Katz. It is not easy finding Barr's work on the market at this time. Measurements: Framed: 23 inches x 29.5 inches x .5 inches Artwork: 23 inches x 29 inches Victoria Barr was born in New York, NY, in 1937 to the legendary MOMA curator and art historian Alfred H. Barr, Jr. and art historian Margaret Scolari Barr. Barr often traveled to Europe with her parents from the age of 14 onwards, meeting influential artists like Pablo Picasso, Henri Matisse, and Marc Chagall and collectors like Peggy Guggenheim. For high school, she went to Milton Academy...

"All The Pieces Floated Into The Sky" is a mixed media eye-catching painting by Jason Hackenwerth. The application of pigment adds intrigue and textu...

"I have been painting seriously for somewhere around 35 years, but have only ever sold regionally - most recently, through my gallery on Magazine Street in New Orleans. Through 1stDi...

Valerie Campos Blue Bedroom, 2022 Oil on linen 51 x 35 in

Karen Blair lives in Charlottesville, Virginia where the surrounding mountains provide daily inspiration for her work. Her own garden and those of friends inspire the flowers and tre...

This piece is from the series "Geologies" My father was a geologist, I kept as a treasure his field notebooks and in this series I sort of dialogue with him using the geology symbols...

Exploring the interaction of humans and nature . II live in a beautiful place called Aranjuez, it´s famous for it´s gardens. When almost all the garden sleeps cos of cold winter, Mag...

Exploring the interaction of humans and nature . As usual on my painting I like to hide symbols /words/photographs in my landscapes . I consider them abstract paintings even if some...

Cares was the favourite river of my father. This piece is sort of haiku for him. The rock, the river, the trout . I remember to be just a kid and go to the river for fishing,I didn´t...

In this piece, the intense use of negative space highlights each individual marks character, weight and texture. The painting explores various types of mark making and paint application inspired by elements of the landscape painted in various thicknesses, intensities and with a variety of different tools. Each mark is calculated and responsive to the one that came before it, creating a cause and effect relationship across the surface of the canvas. Restraint is a key element of this new body of work from artist Matt Higgins and the option to go further is always there. However, the excitement and spontaneity of the piece would therefore be sacrificed. Done in one session of intense meditative focus, A Place We Can See depends upon the exact moment of creation...

IT'S NOT TRUE 2022 Paris, France Primarily matte and satin finish black paint, mixed with plaster and oil stick on canvas. An abstract and surreal painting with accents of pinks, reds, purples, and gold. A very faint profile of a leopard walking into the darkness is situated on the lower left side of the canvas. In the upper right "MDCCCXCIV" (1894) is hand painted in gold serif font. Vertical movement is incorporated through the use of subtle colors. Evans Deventer...

Karen Blair lives in Charlottesville, Virginia where the surrounding mountains provide daily inspiration for her work. Her own garden and those of friends ...

Floral abstraction N2 50x60 cm

Abstract, mixed mediums on black archival paper - Original one of a kind artwork - Artist Signature on back - Certificate of Authenticity provided Beautiful abstract organic shapes a...

Mixed Media using modeling paste and oil paints on cotton paper.

Meet Me by the Harbour [2022] Please note that insitu images are purely an indication of how a piece may look Meet Me by the Harbour is an original painting by Mary Scott. This is a...

Hand-painted. Not a print. Painting is signed at front and back. Dated. Contemporary FINE ART Original PAINTING, acrylics,, oil pen, spray ...

« I believe painting is all about gesture and flow. Painting is nowness. » Exploring the interaction of humans and nature . I like this idea of everyday life in the rain forest, I...

« I believe painting is all about gesture and flow. Painting is nowness. » I wanted to represent the magnificent of the oak trees ,how they grow as island in the landscape and creat...

« I believe painting is all about gesture and flow. Painting is nowness. » Exploring the interaction of humans and nature . II live in a beautiful place called Aranjuez, it´s famo...

Watercolor and oil crayons on paper

Oil and cold wax on paper, framed on a a white passe-partout.

« I believe painting is all about gesture and flow. Painting is nowness. » An abstract painting for Shanghái city .Acrylic medium with Chinese ink and pencil to write the memories o...

Memories from Cuba. A vibrant selections of colors to paint a landscape from the stories I have being told since I was little. Strong purples and light blues make a playful composi...

The Conviction of Things Not Seen #5 by Judith North [2022] original Oil, oil bar and chinagraph pencil on canvas Image size: H:90 cm x W:90 cm Complete Size of Unframed Work: H:90 ...

"I have been painting seriously for somewhere around 35 years, but have only ever sold regionally - most recently, through my gallery on Magazine Street in New Orleans. Through 1stDi...

acrylic, mixed media on canvas In his current body of work, Tim uses large gestural drawings to create energetic abstractions. The layered process o...

Artist's Statement: "I typically paint abstractly, but this is part of a recent series of paintings that is figurative and symbolic. They harken back to 80s neo-Expressionism - my f...

Contemporary mixed media (acrylic, pastel, pencil, and collage) abstract floral painting by emerging artist Federica Aiello Pini, exploring nature...

acrylic, mixed media on canvas In his current body of work, Tim uses large gestural drawings to create energetic abstractions. The layered process of his pieces creates a rich textu...