Panel Abstract Paintings

Between Here and There by Elaine Fox [2022] original Oil Paint on Cradled Panel Image size: H:35 cm x W:35 cm Complete Size of Unframed Work: H:35 cm x W:35 cm x D:2cm Sold Unframed...

The intelligence of emotions (Abstract painting) Acrylic on acrylic panel - Unframed. This work is from Ramsay's latest series titled Messengers and refers to John Constable "Messe...

Pink Over & Under (Abstract Painting) Gesso wash, pencil, and oil on wood panel — Unframed. Feinberg works with a variety of techniques and mediums, including painting, paper collag...

Marcia Wise's "Red Reflections" is an abstract landscape depicting the colors of a red boat reflected in the water. Oranges, yellow and reds are mingled with a range of soft blues to...

This is a one of a kind original abstract oil painting on wood panel by Southern California artist, Daniel Ketelhut. Its dimensions are 18" x 18" x 1.5". It is unframed. A certificat...

This is a one of a kind original abstract oil painting on wood panel by Southern California artist, Daniel Ketelhut. Its dimensions are 24" x 18" x 1". It is unframed. A certificate ...

This is a favourite piece from a series exploring ideas around layers, history and portals to the past. The series was painted in multiple layers with each layer revealing something of the layer below. The past still affecting the present and the future. Discover more original artwork by Alison Gilbert with Wychwood Art online and in Oxfordshire gallery. Alison is a British contemporary abstract artist...

A captivating abstract painting by contemporary American artist Kyle Butler. The panel is covered with graphite and then layers of paint which are striped away in strategic areas. ...

A painting inspired by Scottish landscapes, the view onto a loch, abstracted with line and texture created by the application of multiple layers over a soft gold background colour. "...

Mixed Media On Canvas Stretched Over Panel

Nancy Newman Rice was born in New York City and was educated at Cornell University and at Washington University, where she earned a BFA with honors and an MFA. She has received award...

Don Giffin (American, 1948-2003) Skin Deep, 2001 Mixed media on canvas Hand signed Don Giffin, titled and dated (verso) 68 x 53 inches. Provenance: from the Art Collection of the InterContinental Buckhead Atlanta Framed dimensions: 74 1/4 x 59 inches. Don Giffin, Born in Chicago in 1948, Giffin earned his bachelor’s and master’s degree at what is now Cal State Northridge. An abstract painter who expanded the Southern California modes of “color and light” and “finish fetish” art, melding impressions of photography, printmaking and painting into a single work. Giffin, a master printmaker as well as a painter. In 1995 he mounted the first of his five solo exhibitions at the Christopher Grimes Gallery in Santa Monica. David Pagel described the artist’s work in a Los Angeles Times review as perfectly smooth, glass-like surfaces when viewed from afar that seemed to decay as one approached. They make pain palpable and evoke mortality’s inevitability, Pagel wrote of Giffin’s creations, which used layers of paint, gesso and tar that he pulled apart as they dried. “His corporeal abstractions bypass your mind to hit you in the stomach.” Giffin was one of 10 Los Angeles, California artists whose work was featured in the 1997 Biennial of the Orange County Museum of Art. (including Robert Blanchon, Jessica Bronson, Julia Couzens, Terri Friedman, Don Giffin, Dennis Hollingsworth, Carlos Mollura, Carter Potter, Monique Prieto, and Chris Wilder.) In reviewing that exhibition for The Times, Cathy Curtis wrote: Don Giffin reinvents stain painting by layering color in such a way that it emits an inner radiance verging on iridescence. The artist continued to push boundaries, and when he displayed his 6 X 5-foot acrylics at the Grimes Gallery in 2000, Pagel described them as mesmerizing works. The cross-fertilization between painting and photography that has been cropping up in some of the most intriguing works being made today takes breathless shape in Don Giffin’s physically resplendent paintings,” the critic wrote. “When I work,” he once said, “it’s like I’m doing a dance with the painting, and I’m not always leading. When the imagery is mysterious, the surface is perfectly smooth and the color contrast is just right with that glow of pale color coming through it’s sheer delight. Finish Fetish denotes a style of art related to the LA Look, pop art, minimalism, and light and space originating in southern California in the 1960s. Artwork of this type often has a glossy and slick finish and features an abstract design on a two-or three-dimensional surface made from fiberglass or resins. The style is similar to the simplicity and abstraction of minimalism and the bright colors and reference to commercial products found in pop art. To the world of postwar art it was a substantive addition. Artists included Peter Alexander, Larry Bell, Billy Al Bengston, Judy Chicago, Joe Goode, Robert Irwin, Craig Kauffman, John McCracken, Kenneth Price, DeWain Valentine...

In this work by Laurie Barmore, the artist's hand is exceedingly present. Using strong strokes of black, red, and purple creates its own essences of form atop washes of whites and gr...

Mare Bianco by Rachel Ovadia Mixed Medium on Panel 48" x 60" Rachel Ovadia has a profound appreciation for beauty, nature, and culture across various disciplines. Her personality ...

In the compositions, the gaze is attracted by an interplay of harmonious balances between full and empty spaces, which compel the regarding to an observation dynamic approach in orde...

Pink Flush is an elegant, large pink rose with splashes of purple and white. This 60" x 60" piece comes to life and brings the beauty of nature directly into an interior space. As part of the Rose Series, this piece was featured in the Visual-O show at Mash Gallery...

Nancy Newman Rice was born in New York City and was educated at Cornell University and at Washington University, where she earned a BFA with honors and an MFA. She has received award...

Untitled 3 (JF 24) (Abstract Painting) Gesso wash, pencil, and oil on wood panel — Unframed. Feinberg works with a variety of techniques and mediums, including painting, paper colla...

Medium: Cast resin and matte clear coat on panel Eric Moore's story doesn't start like many established artists. Unlike many of his artistic peers, Moore has not been drawing and cr...

Untitled 3 (JF 24) (Abstract Painting) Gesso wash, pencil, and oil on wood panel — Unframed. Feinberg works with a variety of techniques and mediums, including painting, paper colla...

Wild, and Full of Summer 3 [2021] original Oil, oil stick, pastel and wax on deep edge cradled panel Image size: H:40 cm x W:40 cm Complete Size of Unframed Work: H:40 cm x W:40 cm ...

Pigment wood putty, acrylic, Dorland's wax medium on wood panel signature and year on verso Constructed paintings comprise the Concentric and Post Concentric Episode Series. They ar...

Lisa Pressman earned her BA in Art from Douglas College, Rutgers University and an MFA from Bard College. Her work has been exhibited extensively throughout the U.S. and abroad, incl...

Kentaro Hiramatsu, Hope House (2005), Acrylic on wood panel, 18" x 33.5"

This is a one of a kind acrylic and mixed media painting on wood panel by San Diego artist, Peter Geise. It is unframed. Its dimensions are 11"x14" A certificate of authenticity will...

Lisa Pressman earned her BA in Art from Douglas College, Rutgers University and an MFA from Bard College. Her work has been exhibited extensively throughout the U.S. and abroad, incl...

This is an original sill life interior painting of fruit (apples) with a geometric fractured composition. The artist made the painting one section at a time. When working on one section, the artist would block off the rest of the composition so the objects and background needed to be placed again. By building the composition this way, the background and table appear at different levels and the shapes don't quite align. These imperfections convey a sense of passing time. In each section, the tone of the light changes, and the shadows switch directions. The apples and geometric shapes were chosen as much for metaphorical value as for aesthetics. A seemingly simple arrangement in a familiar painting genre contains a depth of observation, artistic choices, and interpretation. This painting is signed and dated on the back. Includes all hanging hardware and ready to install; no need for additional framing. Mat...

Born and raised in New York City, Jeannie Motherwell inherited a love of painting from her father, Robert Motherwell, and stepmother, Helen Frankenthaler, two pillars of mid-century abstraction. She studied painting at Bard College and the Art Students League in New York. Continuing with her art after college, she became active in arts education at the Bruce Museum in Greenwich, CT. Later, relocating to Cambridge, MA, she worked at Boston University for the graduate program in Arts Administration 2002 - 2015. She served on the Cambridge Arts Council Public Art Commission from 2004 – 2007 and is currently on the Provincetown Arts Magazine Board of Directors, an Honorary Art Advisor Member for Rochester Museum of Fine Arts (NH), and is on the Advisory Board for Joy Street Artists Open Studios in Somerville, MA. Her work has been featured in public and private collections throughout the US and abroad. Jeannie’s studio is in Somerville, MA. She is represented by the M Fine Arts Galerie...

Born and raised in New York City, Jeannie Motherwell inherited a love of painting from her father, Robert Motherwell, and stepmother, Helen Frankenthaler, two pillars of mid-century ...

Born and raised in New York City, Jeannie Motherwell inherited a love of painting from her father, Robert Motherwell, and stepmother, Helen Frankenthaler, two pillars of mid-century abstraction. She studied painting at Bard College and the Art Students League in New York. Continuing with her art after college, she became active in arts education at the Bruce Museum in Greenwich, CT. Later, relocating to Cambridge, MA, she worked at Boston University for the graduate program in Arts Administration 2002 - 2015. She served on the Cambridge Arts Council Public Art Commission from 2004 – 2007 and is currently on the Provincetown Arts Magazine Board of Directors, an Honorary Art Advisor Member for Rochester Museum of Fine Arts (NH), and is on the Advisory Board for Joy Street Artists Open Studios in Somerville, MA. Her work has been featured in public and private collections throughout the US and abroad. Jeannie’s studio is in Somerville, MA. She is represented by the M Fine Arts Galerie...

"I am drawn to the aesthetic qualities of jewelry. This interest stems from the color, texture, variety and the association with the female body that jewelry contains. I experiment...

"Wired, Out of Time" by Sarah Alexander is a 30 x 22 inch abstract watercolor and charcoal painting on panel in warm yellow and sepia tones. In this signature piece from Alexander’s ...

This is a mixed-media artwork by Monty Montgomery. Its dimensions are 48 x 84 x 2.5 and it is Aerosol on Custom Panel with UV Gloss Varnish. A certificat...

Marcia Wise’s “Stoneybrook” is a small, 24 x 12 inch mixed media painting on board with colors ranging from deep greens, magentas, blues, oranges, pinks and yellows. Acrylic paint an...

This is a mixed-media artwork by Monty Montgomery. Its dimensions are 48 x 76 x 2.5 and it is Aerosol on Custom Panel with UV Gloss Varnish. A certificat...

My work is a visual and increasingly literal patchwork quilt containing little and big pieces of myself and the archetypal imagery developed over the course of my practice. Within the paintings are vintage bed sheets...

This is a mixed-media artwork by Monty Montgomery. Its dimensions are 48 x 76 x 2.5 and it is Aerosol on Custom Panel with UV Gloss Varnish. A certificat...

Provenance: Babcock Galleries (bears their label verso.) signed verso with artists monogram signature. Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures. Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Marilyn Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies. Following a tour of museums in Amsterdam, Paris and Rome, the artist made her way to Jerusalem in 1966. During this journey, the artist worked with painter Ruth Bamberger, studied etching and mingled with the artists and intellectuals of the city. The result was Dintenfass's first architectural commission, to design the “Pop Op Disco,” Jerusalem's first disco. This commission allowed her to work with an array of materials to employ shapes, surfaces, textures, colors, and lights, all of which coalesced in her consciousness that would become important components of her mature personal visual vocabulary. Dintenfass also married and started her family during these years. Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.” Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.” Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant." The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist's paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself. Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculpture unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.” Dintenfass has also been commissioned to create many large-scale installations, including works for the State of Connecticut Superior Courthouse; the Port Authority of NY 42nd Street Bus Terminal; IBM in Atlanta, Charlotte, and San Jose; The Baltimore Federal...

In this work by Laurie Barmore, the artist's hand is exceedingly present. Using strong strokes of black creates its own essences of form atop washes of whites, yellow and rust. Spill...

Energetic, joyous brushstrokes in this painterly abstraction with birds. Bright colors, dominant whites, blues, with touches of orange and red. Multi-layered oil paint and painted...

Carl Holty (1900-1973) "Mountain Wall" 1962 Unframed: 12" x 9" Framed: 19.5" x 16.5" Signed Lower Left Known for his floating, luminous, highly-colorful forms, Carl Holty belongs to...

Metal, textiles & acrylic paint on wooden panel, box framed Sumit Mehndiratta is an Indian artist born in 1986 who lives & works in New Delhi, India. He has pursued Master of Scien...

Untitled 5 (JF 22) (Abstract Painting) Gesso wash, pencil, and oil on wood panel — Unframed. Feinberg works with a variety of techniques and mediums, including painting, paper colla...

Katheryn Holt (American, born 1951) "Pacific Ocean Park" 2022 Oil Paint, Mixed Media, Wood Panel, Wood The artist signed the back of the painting. Framed Artwork: 26" x 37" x 1.25" ...

Eddy Lee’s figurative surrealist portrait paintings on exposed wood depict emotive sirens who evoke a sense of mystery and seductiveness. His original artworks combine geometric elements with innocent women portraits seeking to trigger emotions, rather than communicating specific explanations. He reconciles the unconscious with rational life, exploring the power of dreams, embracing automatism, and freeing his subjects from the constraints of conscious thought. This colorful, intriguing portrait is painted with acrylic and gouache on a hand-built cradled wood panel. This one-of-a-kind original artwork is 48 inches high by 36 inches wide and is signed by the artist on the back. It is wired and ready to hang. It does not require framing. Free local Los Angeles delivery. Affordable Continental U.S. and worldwide shipping available. A certificate of authenticity issued by the art gallery is included with this unique work. Originally from Seattle, Washington, Eddy Lee relocated to Los Angeles in late 2012 to pursue a full-time career as a fine artist. He started his career on the Venice Beach Boardwalk and quickly gained a large following across the United States with exhibitions in San Francisco, Las Vegas, and Los Angeles. The artist’s work is inspired by the works of Audrey Kawasaki...

Mat Tomezko's "Price" series of mixed media collage paintings are constructed from periodicals, circulars, acrylic, asphalt, graffiti, and coal on panel. Using mostly found materials...

Mid-Summer Dance Cheryl D. McClure acrylic on canvas 40 x 40 x 1.5 in To make my paintings I have come to the realization that I use what I call the ‘Three I’s” of INFLUENCES, INTUITION. and INTENT. Like a lot of artists, McClure’s interest in art developed early in childhood. She recalls, “When I was eight years old, I begged my dad to let me take an after-school painting class. I was shocked when I got there and found out they were painting with paint by number kits. I did not want to do that. I hate coloring inside the lines. So, the teacher allowed me to look for images to use as inspiration. In my memory, I think the first one must have been a reproduction of a Cezanne landscape. I just did what I did all on my own, but I loved mixing colors. Then my dad died, and we moved from Oklahoma to Texas. Sadly, I never really did anything else until I was in my twenties. I then took up painting again all on my own and trying to learn from other artists demonstrating their painting techniques and taking workshops. I have been painting ever since, more than forty years.” She continues, “For many years I only painted with acrylics or mixed media collage. In 2005, I also started painting with encaustic and have gone back to using oil paint again. I suppose acrylic remains my dominant medium. Mixing it up now and then keeps me on my toes and is a great way to learn. Each medium can teach you certain aspects of painting others do not. Each medium has its strengths and weaknesses depending on what you want to express. You can learn from all. I did not love watercolor because it took too much pre-planning. But I learned a lot about negative shapes and composition. I learned a lot with pastel and charcoal about making marks. By working back and forth with different media, I am growing as a painter.” If I used only intent, I would more than likely be disappointed because my imagined intent is always elusive. I get more than I imagined by not setting too many rules about how to get there. Using all of these factors, I can use the knowledge of formal issues that comes from viewing a lot of art and, also, from being in the studio making art all of the time. Using that comprehension of formal design as an aid to intuitively know what is the right relationship of color, mark, space, etc. is the intent. Intention is necessary to direct you to explore the former two. Intention also demands you delve more into your own reasons for making art. 2020 University of Texas, College of Pharmacy Partnership Exhibit, Tyler, TX Beauty of Art and Medicine IV, Rogers Nursing and Health Sciences Building, Tyler Junior College, Tyler, TX Stable, Cerulean Gallery, Dallas, TX 2019 Mississippi Art Colony Fall Travel Show, juror, Stanley Kurth Small Works, Gallery Mack, Seattle, WA 2017 Black Tie (optional), Invitational, Adam Peck Gallery, Provincetown, Mass. Mississippi Art Colony Fall Travel Show, David Hornung, juror, Meridian Museum of Art, Meridian, Miss., Southern Cultural Arts Center, Vicksburg, Miss., Museum of the Mississippi Delta, Greenwood, Miss. You Name It, Cerulean Gallery, Amarillo, Texas 2016 N° 10, Invitational, Adam Peck Gallery, Provincetown, Mass. 2015 One + One, Invitational, A Gallery Art, Provincetown, Mass. 2014 East Texas Regional Artists, Longview Museum of Fine Arts, Longview Texas (4 person) Mississippi Art Colony Fall Travel Show, Jenene Nagy, juror (Mary C. O’Keefe Center for the Arts, Ocean Springs, Miss., Meridian Museum of Art, Meridian, Miss., Wm. Carey College, Hattiesburg, Miss.) 2013 Texas Rugged and Shiny. LuminArte Gallery, Dallas, Texas SEVEN, International Encaustic Conference, Provincetown, Mass., Shawn Hill, juror RED, A Gallery, Provincetown, Mass. Texas Women with Brushes, Jack Meier Gallery, Houston, Texas (2 person) 2012 EncaustiCon 2012, Gallery Nord, San Antonio, TX, Paula Berg Owen, juror WAX: Contemporary Art Works, Pajaro Valley Arts Council, Watsonville, CA Wise Earth: Land and Art, Wise Earth Gallery, Denton, TX, curator, Katy Crocker Continuum 2012, VamArt, Inc., Metuchen, NJ 2011 One Foot of Wax, North Lake College, Irving, TX Mississippi Art Colony Travel Show, Guild Hardy Architects Purchase Award, Sheri Fleck Rieth, juror Hunting Art Prize Finalist *Paintings, DCL, Tyler, TX 2010 Fusion, PFAMily Arts Gallery, Plano, TX Melting Point, Arts Centre of Plano, Plano, TX *Influenced by the Land, Encaustic Center, Richardson, TX Hive, Cole Art Center, Nacogdoches, TX 2009 Uncommon Composites, Cerulean Gallery, Dallas, TX Meltdown, Art Hotel Gallery, Dallas, TX Global Swarming, TX Discovery Gardens Gallery, Dallas, TX Encaustic Methods, Tarrant County Community College, Arlington, TX The Alchemy of Encaustic, Ann Dean Turk Gallery, Kilgore College, Kilgore, TX 2008 Coming Home, Longview Museum of Fine Arts, Longview, TX Some Like It Hot, Bath House Cultural Art Center, Dallas, TX Texas Artists Museum, Port Arthur, TX, Firehouse Gallery, Fort Worth, TX 2007 Landscapes, Longview Museum of Fine Arts, Longview, TX *Little Pieces of Land, Joyous Lake Gallery, Pinetop-Lakeside, AZ Mississippi Art Colony Travel Show, Meridian Art Museum, Meridian, MS East – West, Meeting in the Middle, Hilligoss Galleries, Chicago, IL 2006 Artist Residency, Centre d’Art Contemporain (Cat’Art) Sainte Colombe sur lâ Hers, France Mixed Media Invitational, Longview Museum of Fine Arts, Longview, TX 2005 Dance with the Imagination, 3 artists, West End Gallery, Winston-Salem, NC Southwestern Water Society Signature Members Show, Irving Art Center, Irving, TX, Marcie Inman juror of awards, Honorable Mention 2004 East Texas Regional Exhibit, Longview Museum of Fine Art, Longview, TX; juror, David Band Traveling the Carolinas, National Association Of Women Artists Mississippi Art Colony Travel Show, Spring, Joseph A Smith, juror Artist Career Training 1st National Juried Exhibition, 2nd place Award, jurors, Geoffrey Gorman...

A contemporary abstract painting by Willy Bo Richardson Oil on aluminum panel This artwork is offered by ClampArt, located in New York City. Willy Bo Richardson received an MFA in...

This abstracted portrait titled "Study for Rally III" is an original artwork by Brandon C. Smith made of oil paint on canvas. The piece measures 12”h x 12”w.

"Here to There Triptych" (2018) by Victoria Eubanks is an original handmade encaustic painting on three birch panels that depicts a colorful abstract scene. About the Artist: Victo...

Will Beger and his contemporary-minimalist paintings, take on an entirely unique approach to southwest art. Influenced by his youth and inspired by nature, he effortlessly captures a...

Aleksandr Rodin (1922-2001) Painter Born in a family of farmers. Wife Rasma Lace - art scholar. Studied at the Stalingrad School of Art, Saratov Art School, graduated from the Depar...

Portal 23 #4 (2023) Acrylic, wax, and aluminum leaf on paper. 8" x 8" unframed 15" x 15" framed Hester’s practice is a meditation on both her personal and our collective pasts. Throughout her works, Hester consistently acknowledges the seemingly opposing forces that build our daily lives—creating an atmosphere abounding with both elegy and rejuvenation. The artist’s technique of painting on each substrate—paper, plexiglass and aluminum—goes far beyond conventional brushwork. Through a painstaking and physical process, she applies and removes acrylic paint with the use of sanders, hammers, routers and drills, in a continual process of building, breaking and rebuilding. Surprisingly, even the works on paper are sanded. Surfaces are mottled and textured, scraped and punctured. Layer upon layer of striated, thick colors dance astride more delicate patterned areas, created with collaged bits of metal leaf and complex cross-hatching marks. Yet, strikingly, the eye finds places of rest as colors and patterns conjoin harmoniously, and chaos and control share spaces. Painting / Silver/ Texture / Work on paper / Abstract / About the Artist: Francie Hester works principally on sculpted aluminum, steel and plexiglass, in a process-based practice that builds pixelated and vibrant pigments in deep layers with patterns of drips, grids and fragmented shapes that are then deconstructed through sanding, scraping, drilling and cutting to reveal the finished, textured surfaces. Her work has been exhibited internationally in Jordan, Ulaanbaatar, Ireland, and Costa Rica, and in solo exhibitions with Susan Eley...

This geometric abstract acrylic on canvas painting mounted on wood panel is part of Weaver's "Cubes Divided into Three" series. Squares, rectangles, triangles, and polygons appear in shades of red, purple, pink and gray on a pale yellow field. It is signed and dated on the back. It includes all hanging hardware and is ready to install; no additional framing is necessary. Benjamin Weaver...

A narrative landscape, suggesting a collision of art, history, and phantasm. Oil paint, collage, mixed media on panel. references Guggenheim, Roman colosseum

Enthralled with the lore and spirituality of American Indian cultures, his work often depicts these traditional subjects in nontraditional ways. Hawkins captures the raw sense of ele...

Untitled 2024 (green-pink) (Abstract painting) Acrylic and oil on panel — Unframed. Jasper van der Graaf is a Dutch artist known for his large-scale murals. His art is defined by it...

Rapid Exit by Nancy Newman Rice is an abstract oil painting that commands attention with its crisp, precise brushstrokes and bold interplay of color. The geometric shapes and sharp l...

Cotswold Track II by Eleanor Woolley [2021] Cotswold Track II is an original oil painting on a deep edged wooden panel by artist Eleanor Woolley. A small scale landscape...

This is a mixed-media artwork by Monty Montgomery. Its dimensions are 12 x 12 x 1.5 and it is Aerosol and Molding Paste on Birch Panel with UV Gloss Varnish. A certificate of authent...