Paper Abstract Paintings

Ralph Anderson G Acrylic on paper H 30cm x W 42cm

SF64-045, Sam Francis, Acrylic, American Abstraction, Postwar, Work on paper 1964 Acrylic on paper 73 x 56.5 cm 94 x 75 cm / 37 x 29.5 in. (w...

An abstract acrylic and paper on canvas painting by Post War artist Arne Hiersoux. "Memphitis" is executed in bold strokes, splashes and drips of black, red, green, yellow and ochre ...

Acrylic on Paper

Martin Reyna Untitled, 2015 Mixed media on paper 19.6 x 19.6 in (49.78h x 49.78w cm)

the painting is being offered with a work and authenticity certificate

Josef Presser (Poland, United States, 1907 - 1967) Abstracted Shapes signed in red lower right 19 ¾ ” x 14 3/4” 25 1/4 ” x 20 1/4” Medium: Gouache on paper Provenance: Woodstock, NY About Josef Presser was born in Lublin, Poland. He studied at the Boston Museum of Fine Arts School and in Europe, with Bryant Baker...

Interior design paintings. The triptych is made with alcoholic ink in garnet red, cherry red, gray, white on Yupo paper. It can be in both horizontal and in vertical positions. Each ...

"Waiting II" Painting 19" x 11" in by Ibrahim Abd Elmalak Femmes Fatale, Circa 1980s Ink & Acrylic on Paper. Signed Signed The selection of Abd ...

"Understanding New Depths", Blue Mixed Media Art, 2020 A B O U T T H I S P I E C E : "Understanding new depths" is a modern portrait painting by Addison Jones. This street art sty...

"Salvation", Gold Street Art, Modern Portrait Art, 2020 A B O U T T H I S P I E C E : “Salvation” is modern portrait art/ gold street art by Addison Jon...

"Out Shall be Virtue", Gold Modern Art Painting, 2020 “Out shall be virtue” is modern art by Addison Jones. This is a multi-media collage-style technique. This is a hand-signed pie...

The colorful paintings of Jan Pieter Fokkens transport us to distant worlds beyond our comprehension. Within seemingly infinite networks of lines, dots, and crosses, he decodes the recognizable to create something unfamiliar. Each work begins with a colorized photo captured by a deep-space telescope...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Stephanie Visser, a native of southwestern Michigan, was educated at Kendall College of Art and Design in Grand Rapids Michigan. She continued her education in fine arts and painting...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

You are viewing a modernist acrylic painting by Robert Blair in which the artist has utilized a comb to create designs within the painting. Robert Noel Blair (American, 1912-2003)...

We are pleased to present this event, which will see the exclusive world premiere of Anna Pennati's works entitled The Black Series, that the artist reserved exclusively for 1stDibs ...

We are pleased to present this event, which will see the exclusive world premiere of Anna Pennati's works entitled The Black Series, that the artist reserved exclusively for 1stDibs ...

"Sweet Licorice I" is a framed mixed media work on canvas by Maura Segal, with abstract shapes in a monochromatic field of black with a continuous line in lavender to draw the eye ar...

"LA life" Acrylic on Paper Painting 18" x 24" inch by Tetiana Kalivoshko Tetiana Kalivoshko is an American-based Ukrainian artist who specializes in painting, sculpture, and art ins...

Tempera on paper, signed and dated 1970 lower right. Frame in white lacquered wood and glass, ext. cm. 22 x 22

Dimensions: 25.5 X 20.5 Frame. Artwork measures 23.25 X 18.25 Ksenia Vladimirovna Ender ( Russian Ксения Владимировна Эндер , also Xenia Ender and Kseniia Ender. born 1895 in Sluzk , died 1955...

Gwendoline Finaz de Villaine is an artist whose painting is deeply connected to her subconscious, practiced in an automatic manner. Her technique using Chinese ink, known as "caviar ...

Robert’s work incorporates small poetic texts, often in a childlike manner. She did not utilize conventual tools, such as a paintbrush, but moved the paint with her hands. Though right-handed, she preferred to use her left hand to tap into a fragile creative energy akin to the mark-making of an untrained child’s first gestures. Her work, therefore, has a sense of discovery that is both assertive and tentative. Her poetic texts are evocative and sometimes nonsensical, functioning more compositionally than literally. Her works on paper are often composed of variegated scribbles, and her paintings are rich painterly statements that move between abstraction and fantastical landscapes. Louise Robert’s first professional exhibition was held in Montreal...

Painting titled "Totem" and dated 2021 by Jeanne Cosimano. Painting is gouache on paper and framed. The painting was recently included in a solo exhibition at Gallery 2112...

Robert’s work incorporates small poetic texts, often in a childlike manner. She did not utilize conventual tools, such as a paintbrush, but moved the paint with her hands. Though rig...

Opening Houses on Black 3, 2022. Coloured pencil on black paper, 20 x 20cm Nicky Marais (b. 1962) is a Namibian artist, educator and activist. Marais is well-known for her abstract artworks created using a personal vocabulary of abstract forms and colour relationships derived from everyday life as well as the socio-political history of Namibia and icons from around the continent. These forms are often layered using a mixture of stencils and traditional painting techniques. Marais describes her practice as a “constant hunt for significant shapes”, which are subjected to a process of near-obsessive repetition, appearing multiple times in different combinations. Much of her work explores the relationship between physical and spiritual worlds, which extends into an investigation of the relationship between the tangible and the intangible, the signifier and the signified. Speaking about Marais’ work, Rosa Namises said “Sometimes we are trapped between the gates and the snakes. We have to choose to go through the path of knowledge, to learn what the snakes have to teach us, and not allow ourselves to be trapped by the gates” (2017). Marais is recently retired from an eleven year posting as the Head of Department of Visual Arts at the College of the Arts in Windhoek. As an artist, she has exhibited extensively in Namibia and abroad. In 2017, The National Art Gallery of Namibia hosted a solo exhibition by Marais, titled ‘Presence in Absence’. Her next solo ‘Connections‘ was held at Guns & Rain Gallery in Johannesburg in 2020. Most recently in 2022, the artist participated in the Baker’s Bay...

I was working at the Palm Restaurant in Dallas. I got to know a lot of radio personalities and people in the music industry. One day someone from the 94.5 The Edge said they were loo...

I was working at the Palm Restaurant in Dallas. I got to know a lot of radio personalities and people in the music industry. One day someone from the 94.5 The Edge said they were loo...

I was working at the Palm Restaurant in Dallas. I got to know a lot of radio personalities and people in the music industry. One day someone from the 94.5 The Edge said they were loo...

American Artist 1922 – 2012 Served his country as a Sergeant in World War II, both stateside and in the Philippines. After the war, native Chicagoan Ronald Ahlström graduated from the School of the Art Institute, He became a prominent Abstract Expressionist collage assemblage maker working in a style similar to some of the New York school assemblage artists such as Robert Goodnough. Utilizing cutout letters in a concrete poetry style. He frequently exhibited his collages and paintings in the Chicago and Vicinity exhibits of the 1950s and 1960s. He worked as the curator of the Tacoma Art Museum in Tacoma WA during the early 1960s. He showed at Exhibition Momentum in the ’60s, and was selected for the Corcoran Biennial. Together with his colleagues and fellow-abstractionists Robert Nickle, Morris Barazani, Harry Bouras, George Kokines, and George Waite, he exhibited at McCormick Place in an independently produced survey of contemporary Chicagoans, circa 1962, under the banner 12 Chicago Artists. An adept and sensitive painter, Ahlström’s most personal work is as an abstract expressionist collage maker. Using strips of paper, sometimes weathered and beaten into rough hewn surfaces, he creates immaculately layered, lively, gestural compositions. He was the recipient of many art awards and prizes throughout his long career. His works are part of numerous private, corporate and museum collections. His work was published in many national and international art publications including Who's Who in America and Who's Who in American Art. he taught art at both high school and college level. His other passions included history, literature and music. He was an accomplished base fiddle and guitar player and often played professionally in clubs during the late 1940s and 1950s. In 1958, he was awarded the William H. Bartels Prize of five hundred dollars at the Art Institute of Chicago. Education: Art Institute of Chicago University of Chicago DePaul University Exhibitions: Art Institute of Chicago Annuals, Corcoran Biennial in Washington DC, 12 Chicago Artists 50 Chicago Artists European Exhibit at the US Information Agency Collage and Construction, Hyde Park Art Center, Chicago Tacoma Art Museum, Washington Henry Gallery, University of Washington, Seattle 50th Northwestern Annual, Seattle Art Museum, Chicago Invitational, University of Illinois One Man Exhibits: Rockford College, Rockford Il. Barat College, Lake Forest Il. Rodger Wilson Gallery, Chicago, Il. Touchstone Gallery, New York, NY. Joseph Faulkner, Main Street Galleries, Chicago, Il. Zriny Galleries, Chicago Il. Awards: Clyde Carr Prize, Art Institute of Chicago William H. Bartels Prize, Art Institute of Chicago James Broadus Clark Prize, Art Institute of Chicago Alumni of Art Institute Prize Singer and Sons Prize, Navy Pier, Chicago Abel Fagan Prize, Festival of Fine Arts, Lake Forest, Il. Ford Foundation Purchase Prize, Seattle, Wa. Collections: Art Institute of Chicago Barat College Tacoma Art Museum, Wa. Phibrook Art Center, Tulsa, Ok. Blue-Cross Collection, Chicago, Il. Atlantic Richfield Collection Illinois Bell Telephone Collection Container Corporation of...

Mid century modern art with inscription in french verso. It was traded with another artist.

The paper of the work is not yellowed, there is a applied yellowed primer under the drawing Krzysztof Gliszczyński is Professor for painting o...

Pelias expounds on her new works . . .   In this group of oil paintings on canvas, I am inspired and informed by my personal history and collective lived experience, as well as the...

"The Magic Trick" is a hand-painted acrylic painting on high-quality 300g paper by artist Ryan Rivadeneyra. These painting, influenced by modernist artists of the 50's, 60's, and 70...

Loop the Loop Mixed Media On Paper 30" x 22" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of painting employing the use of...

Baton Rouge Mixed Media On Paper 16" x 12" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of painting employing the use of i...

Opening Houses on Black 2, 2022. Coloured pencil on black paper, 20 x 20cm Nicky Marais (b. 1962) is a Namibian artist, educator and activist. Marais is well-known for her abstract artworks created using a personal vocabulary of abstract forms and colour relationships derived from everyday life as well as the socio-political history of Namibia and icons from around the continent. These forms are often layered using a mixture of stencils and traditional painting techniques. Marais describes her practice as a “constant hunt for significant shapes”, which are subjected to a process of near-obsessive repetition, appearing multiple times in different combinations. Much of her work explores the relationship between physical and spiritual worlds, which extends into an investigation of the relationship between the tangible and the intangible, the signifier and the signified. Speaking about Marais’ work, Rosa Namises said “Sometimes we are trapped between the gates and the snakes. We have to choose to go through the path of knowledge, to learn what the snakes have to teach us, and not allow ourselves to be trapped by the gates” (2017). Marais is recently retired from an eleven year posting as the Head of Department of Visual Arts at the College of the Arts in Windhoek. As an artist, she has exhibited extensively in Namibia and abroad. In 2017, The National Art Gallery of Namibia hosted a solo exhibition by Marais, titled ‘Presence in Absence’. Her next solo ‘Connections‘ was held at Guns & Rain Gallery in Johannesburg in 2020. Most recently in 2022, the artist participated in the Baker’s Bay...

Dream Offering II Mixed Media On Paper 22" x 30" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium of painting employing the us...

Vladimir Udatny (Russian, * 1920, † 1972) Abstract Composition • Polychromatic Monotype on heavy paper • Sheet, ca. 50 x 65 cm • Inscribed in pencil lower left & signed lower righ...

Makeup on business cards Artwork Unique “Call Me, Kiss Me” is the third of a continuing “ILYSFM” series which explores femininity, love & beauty, drag, and attraction as iconic symb...

Simple Stuff (Abstract painting) Acrylic on paper mounted on wood panel - Unframed. "Matthew Langley's technique in creating the artworks come from building and extending as well as ...

Dimensions: 18 X 12 including frame, 16" x 11." image only. Frank Aumüller is a contemporary artist. Frank Aumüller is a german male artist born in Stuttgart (DE) in 1960. Frank Aumueller had his first exhibition at Art Cologne 1989 at Koelnmesse GmbH in Cologne in 1989, and Prognose at Württembergischer Kunstverein in Stuttgart in 2021. A notable show was 2041 Endlosschleife at Württembergischer Kunstverein in Stuttgart in 2014. Other notable shows were at Villa Merkel - Galerie der Stadt Esslingen in Esslingen and Museum für Neue Kunst in Freiburg. Frank Aumüller has been exhibited with Hildegard Esslinger and Beate Baumgärtner. Aumuellers jigsaw puzzle pictures are results of a multistage production process. Expressive, partially with strong auto-lacquers created paintings form the basis. Aumueller then takes a photograph of these abstract color experiments and cuts the photo by machine into jigsaw puzzles. Afterwards he reassembles individual parts, whereby the original parts produce a new picture in a new composition, a sculpture work. At first sight the jigsaw puzzle pictures appear as a "pleasant idea": The result of time-consuming artistic creation is presented as a well-known game for children and adults. This appears to be an ironic move by Aumueller. However, irony is not the artist's concern. There is more to the jigsaw puzzles than just a nice conception: Aumueller labels his jigsaw puzzles "unstable equilibria" - a suitable description for many things in a world which in many ways appears to be stable and arranged. The jigsaw puzzle is more than just a means of formal expression. Aumueller labels his jigsaw puzzles "unstable equilibria" - a suitable description for many things in a world which in many ways appears to be stable and arranged. The jigsaw puzzle is more than just a means of formal expression. It is metaphoric message as well as a clue to the artistic intention. Solo Exhibitions Frank Aumüller: Fotografie Kunstraum Kleine Galerie, Haus am Stadtsee Bad Waldsee Germany Frank Aumüller fine arts 2219 Galerie für Kunst der Gegenwart Stuttgart Germany Group Exhibitions 2023 Bis die Bude brummt – 30-jähriges Jubiläum des Fördervereins Museum für Neue Kunst Museum für Neue Kunst Freiburg Germany. Exhibition series with: Mandana Moghaddam, Jacob Ott, Thomas Ruff, Pia Stadtbäumer, Peter Vogel, Georg Winter...

Lattice 8 (Abstract painting) Acrylic on Yupo — Unframed. Martina Nehrling is an American abstract artist whose dynamic and richly textured paintings evoke kaleidoscopic worlds of p...

Silver powder and acrylic on paper Byun Kyung-Sup is a Korean artist born in 1957 who lives and works in Gwangju, Korea. She studied painting at the College of Fine Arts, Hongik U...

Gold powder, acrylic on paper Byun Kyung-Sup is a Korean artist born in 1957 who lives and works in Gwangju, Korea. She studied painting at the College of Fine Arts, Hongik Univers...

Signed lower right, 'DMc', for Douglas McCellan (American, 1921-2016) and painted circa 1975. Additionally signed, verso, titled, 'Still Life' and bearing old rental reference label....

Leon Collard (1916-2011) "Cityscape of Black and White" c. 1980s Acrylic on Paper 23.25"x18" unframed Signed lower right in paint Leon Collard (1916-2011...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

Dimensions: 19" x 13" including frame, 17.5" x 11.5" image only. Frank Aumüller is a contemporary artist. Frank Aumüller is a german male artist born in Stuttgart (DE) in 1960. Frank Aumueller had his first exhibition at Art Cologne 1989 at Koelnmesse GmbH in Cologne in 1989, and Prognose at Württembergischer Kunstverein in Stuttgart in 2021. A notable show was 2041 Endlosschleife at Württembergischer Kunstverein in Stuttgart in 2014. Other notable shows were at Villa Merkel - Galerie der Stadt Esslingen in Esslingen and Museum für Neue Kunst in Freiburg. Frank Aumüller has been exhibited with Hildegard Esslinger and Beate Baumgärtner. Aumuellers jigsaw puzzle pictures are results of a multistage production process. Expressive, partially with strong auto-lacquers created paintings form the basis. Aumueller then takes a photograph of these abstract color experiments and cuts the photo by machine into jigsaw puzzles. Afterwards he reassembles individual parts, whereby the original parts produce a new picture in a new composition, a sculpture work. At first sight the jigsaw puzzle pictures appear as a "pleasant idea": The result of time-consuming artistic creation is presented as a well-known game for children and adults. This appears to be an ironic move by Aumueller. However, irony is not the artist's concern. There is more to the jigsaw puzzles than just a nice conception: Aumueller labels his jigsaw puzzles "unstable equilibria" - a suitable description for many things in a world which in many ways appears to be stable and arranged. The jigsaw puzzle is more than just a means of formal expression. Aumueller labels his jigsaw puzzles "unstable equilibria" - a suitable description for many things in a world which in many ways appears to be stable and arranged. The jigsaw puzzle is more than just a means of formal expression. It is metaphoric message as well as a clue to the artistic intention. Solo Exhibitions Frank Aumüller: Fotografie Kunstraum Kleine Galerie, Haus am Stadtsee Bad Waldsee Germany Frank Aumüller fine arts 2219 Galerie für Kunst der Gegenwart Stuttgart Germany Group Exhibitions 2023 Bis die Bude brummt – 30-jähriges Jubiläum des Fördervereins Museum für Neue Kunst Museum für Neue Kunst Freiburg Germany. Exhibition series with: Mandana Moghaddam, Jacob Ott, Thomas Ruff, Pia Stadtbäumer, Peter Vogel, Georg Winter...

Acrylic & marouflaged paper mounted on canvas Jean-Luc Veret is a French artist born in 1953 who lives & works between Paris & Corancy, France. He recognizes himself as a protean ar...

Psychedelic Abstract Interior in Oil on Paper Moody abstract by Jennie T. Rafton (American, b. 1925). There is a figure in the upper left corner of this piece, looking out over the scene. There appear to be architectural elements such as windows, doors, and stairs, but the composition is highly abstracted, bordering on psychedelic. Of particular note are the symbols inscribed into the yellow shape in the lower left corner. Inscribed in the lower right corner and acquired with a collection of the artist's work. Presented in a new white mat. Mat size: 20"H x 16"W Jennie T. Rafton (American, b. 1925) is a well-known California artist, primarily for her abstract compositions. She and her husband Michael were ardent supporters of the arts, especially the Oakland Symphony Guild. Exh: 1982 - Magnin Gallery (solo), Walnut Creek...

Interior design paintings. Triptych. The artworks were done with acrylic, ink and watercolor in white color on black watercolor paper 360g. The works are 12 by 16.5 inches in size, f...

About the Series: Gilliam began the series Life Lines in 2017 after recently coming into possession of MRI scans of her brain. The scans, which she spent hours pouring over, both fascinated and horrified her. Gilliam always knew the seriousness of the brain injury suffered as a baby; however, it was the first time she confronted the visual evidence of the injury. Around the same time, she experienced a continuous period of profound familial loss. Both these episodes left her thinking about the body in a new light. This led her to study the biology and physiology of our bodies and the seemingly cruel, capricious way the body can behave, vacillating between strength and fragility. Gilliam began to make drawings from the MRIs recording the brain to understand how its structure and pathways form to activate the circumstances of the individual being we become. As the series has developed, the imagery has dissolved into abstraction, capturing something more existential. The repetitive lines revealed rhythms, and the patterns formed conversations. Ultimately, Life Lines has evolved into a visual story about connections, threading together a human body with its physical, metaphysical, and interpersonal environment. About the Artist: Claire Gilliam is an English photographer, printmaker, painter now based from her home and studio in Warwick, NY. In 1997, she graduated from Sheffield Hallam University in the UK with a BA(Hons) in Fine Art and completed the Professional Certificate in Photography at Rockport College, Maine in 2000. She has studied with photographers such as Arno Minkkinen and John Goodman and master gelatin silver printer, Chuck Kelton and master printmaker, Vijay Kumar. She is an assistant for author and fine art photographer Barbara Mensch. Her works have been shown across Europe and the USA and held in several private and public collections, including The ICP Library Print...

Ink on Fine Art paper Artwork done with a compass Black exterior frame Framed dimensions: 90x90 (x5)cm Signed on the back

Ink on Fine Art paper Artwork done with a compass Black exterior frame Framed dimensions: 113x83 (x5)cm Signed on the back