Paper Abstract Paintings

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through the layering of acrylic paint i...

Beautiful painting of a reclining nude by unknown artist. Oil on paper measures 11 x 20 inches. signed and dated lower right margin. Measuring 19 x 27 inches in original period mahog...

This series of works by the Danish artist Peter Kramer (Roskilde, 1959) with numerous exhibitions between Spain and Denmark are entitled "365 urns", in which the artist works with ti...

Abstract painting on paper image: 18 x 24 inches paper size: 22 x 30 inches Contemporary minimalist abstract painting on a beautiful thick, creamy white Arches paper, unframed. Ins...

Geometric shapes in shades of blue from cobalt to pale periwinkle, and delicate angular lines in black and dark gray are dynamic against a soft background fading from dark navy at th...

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...

In acrylic on Yupo paper, horizontal stripes of color in blue gradient hues are vibrant and carefully ordered. Signed, dated and titled on verso. Audrey Stone has spent her lifetime...

Unframed  10 x 7.5 inches Framed 13.25 x 10.25 inches During these difficult times I have been finding respite and refuge in nature, once again painting outdoors, after many years o...

Artist unknown "Black & White Abstract" May 29, 1988 Acrylic on Strathmore paper 25.75"x40.5" unframed Unsigned

DNA is genetic information, hidden and encrypted in body fluids. Veiled data that we load, that we do not know and that someone knows how to decipher. Such specifications characteriz...

Liquid Life N1, 2024 by Rosario Briones From the series “Liquid Life” Mixed technique (inks and acrylic paint) on 118gr Ahlstrom absorbent paper. Dimensions: 106 Height x 106 Width c...

This beautiful triptych by Eran Shmueli will bring color to any room it will be placed in. These are 3 hand made pieces that comes rolled in a tube but can also shipped framed with ...

Chama Hills by Roy Wilce Original Oil Pastel on Paper, signed lower right image 8x20", framed 16x28", floated on a linen mat, under glass in a simple wood frame Contemporary Southwes...

Abstract composition is a contemporary artwork realized by Hardu Keck in 1967 Mixed colored collage on paper. Hand signed and dated on the lower margin.

An original mixed media (Watercolor and india ink) on paper depicting a mountain range at night.

This dynamic acrylic painting by Gozo portrays a woman dancing and seemingly taking flight against a radiant dusk sky. Set within a vibrant gradient landscape of red, purple, and gre...

In this series, Perrine explores the profound relationship between light and color, both essential elements in her artistic expression. Without light, there would be no colors, and i...

Abstract Expressionist Composition by Marie Deloume (French born 1942) signed & dated verso oil painting on paper stuck on canvas, unframed canvas size: 24 x 20 inches condition: ove...

Interior design paintings. The artwork was done with watercolor on watercolor paper 360g. The works are 14 by 11 inches in size, framed (black) with a styrene face on a mat board in ...

Julia Craig Azure ll Oil on paper Abstract 21cm x 21 cm Sold Unframed (Please note that in situ images are purely an indication of how a piece may look). Julia is an abstract artist...

Roland Ayers (1932-2017). Untitled, 1983. Ink on paper, measures 17 x 23 inches. Unframed and unmounted. Signed and dated lower left. Ayers holds the distinction of having participated in the first important survey of African-Americans, Contemporary Black Artists in America, a 1971 show at The Whitney. Biography: Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...

Interior design paintings. Part of the triptych “Does not see. Does not hear. Does not speak”. The artwork was done with watercolor on watercolor paper 360g. The works are 14 by 11 i...

French Artist Lionel Pratt is a post graffiti / street art artist whose work is inspired by memories from his childhood, his passion for jazz music and his love for urban life. His m...

Paper size is 12 x 9 inches. Letraset, ink and pigment stick on handmade paper. Framed. Based in Andres, NY and West Orange, NJ, Lisa Pressman initially focused on sculpture before ...

These series of paintings by Natalia Roman gather their inspiration from geometric, minimalist shapes and paintings from the beginning of Modernism, with a special emphasis on Art De...

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...

Artist Statement: My work falls somewhere between abstraction, formalism and narrative painting. I see the content and story when I look at my work, but shape and color are equally...

Beautiful abstract painting by American artist, Harris Strong (1920-2006). Acrylic and pins on folded handmade paper, 1970's. Measures 30 x 40 inches framed. Weighs 22 lbs. Color ...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us and reminds us of its natural beauty and the importance of its preservation. Details: Title: Marina N29 & N30 Medium: Acrylic on Paper Size: 70x 212 cm total (28 x 84inches). Each panel measures 70 x 106 cm (28 x 42 inches). Year: 2024 * Frame is for illustrative purposes only. Artwork shipped carefully rolled and packaged in a tube. * Certificate of Authenticity provided. Enric Servera (Ciutadella de Menorca, 1970) lives and works between Barcelona and Menorca, Spain. His works explores the colors and forms of the ocean, inspired by the fauna and flora of the Mediterranean Sea. His work has shown in galleries across Spain, and is part of several public and private collections. Words that may describe this series of artworks are: Mediterranean-inspired art, abstract sea paintings...

This series is born from a search to leave aside the narrative figurative and reduce the image to shape and colour. Starts with both images found as well as her own images, previous ...

This artwork named " Serenity of nature" is an exuberant display of expressive brushstrokes and vivid, harmonious colors, capturing the essence of a mountainous landscape. The piece...

This contemporary abstract impressionist painting with touches of expressionism, "The French Coast" is a delicate and emotive creation by French artist Natalya Mougenot. Part of a su...

The abstract expressive painting "Roses in Summer Garden" by French artist Natalya Mougenot is part of her "Floral" series. This theme serves as a playground for her intuitive appro...

Exploring the purity of the feminine form and the excitement of High-End Fashion, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composi...

In this abstract composition by Montreal-based artist Shireen Kamran, colour and form create a dynamic painting. Indigo blue, green, dove grey, and white colours are punctuated by bl...

A lively, impressionistic depiction of celebrated influencer Leonie Hanne and fiancé on a yacht in Portofino. We are whisked away in this cherished scene with the emotion and dynamic...

Mi obra, creada con acrílicos, refleja una exploración abstracta y vibrante del espíritu humano. La elección de colores vivos y las formas entrelazadas capturan la complejidad emocio...

Artist Statement: My work falls somewhere between abstraction, formalism and narrative painting. I see the content and story when I look at my work, but shape and color are equally...

"Vibrant Strokes on Violet" is an abstract painting diptych by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes combined with subtle tones and unique s...

Jay Walker is best known for his large-scale, site-specific installations and collector's pieces created with laser-cut vinyl, colored acrylic sheets, artist-made stencils, tape, and...

Original Contemporary Monochromatic artwork created with Painted and Folded Textured Paper. This artwork is priced unframed and ships flat. Contact gall...

Work signed on front and back It is sent in a tube

Interior design paintings. Part of the triptych “Does not see. Does not hear. Does not speak”. The artwork was done with watercolor on watercolor paper 360g. The works are 14 by 11 i...

Delicate strokes and natural hues shape Shiri Phillips' watercolor, ink, and colored pencil artworks, showcasing her exploration of minimalism and organic forms. Departing from her u...

Emotional Color Change 34 (Abstract painting) Acrylic on canvas — Unframed. Kyong Lee's series combines colour and language to visually represent the external environment. The proce...

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...

In this work, I have used acrylic and enamel to capture the vast and mysterious beauty of the universe. Abstract swirls and galaxies represent constant evolution and cosmic dynamism....

Nazanin Moghbeli's "Morghe Sahar 2" is framed in a white wood painted frame with white mat. It is wired with all hanging hardware, and is ready to install. Moghbeli is a Persian American artist with training in Persian calligraphy, miniature painting, and music. She borrows techniques from Iranian calligraphy to create abstract drawings with traditional bamboo “ghalams,” or quills. Rather than using these techniques to create religious objects as they were originally used, she explores the secular meaning of line in and of itself. She seeks the complete dissolution of words and prefers instead to create abstract images, her alternative to religious object making. The poem that is collaged into this work is a historic Iranian ballad, entitled "Morghe Sahar" (Bird of Dawn), written by Mohammad-Taqi Bahar and put to music by Morteza Neidavoud in 1921. Some consider this song to be the unofficial anthem of freedom in Iran. The lyrics describe a caged nightingale, urging her to sing with passion and break free. It has been sung in different political contexts, from the constitutional revolution of 1921 through the dictatorship of Mohammad Reza...

This is an original paper, charcoal, pastel, graphite, and acrylic on wood panel artwork by Seth Clark measuring 48”h x 72”w. About the Collection // Continuing the artist's ongoin...

This contemporary painting in ink, gouache and pencil on archival paper is composed of solid shapes surrounded by a pattern of delicate lines and dots in bright blue, luminous yellow...

'Sky' London, United Kingdom 2024 Limited edition of 10 Pinted on archival Hahnehmule Photo rag paper, with care and attention to detail. The process involves layering ink bet...

"**Paper Landscape**" is a unique artwork created by Marilina Marchica, combining collage and painting on canvas. The piece measures 100x120 cm with a 3.5 cm edge. This non-reproduci...

This contemporary painting in ink, gouache and pencil on archival paper is composed of solid shapes surrounded by a pattern of delicate lines and dots in dark charcoal gray, olive, ...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 15 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

Mary Lai is a multifaceted Korean-American artist based in Los Angeles, California.  Her outlook is that “Art is a universal language that can speak to anyone” and her dreamer mindse...

These series of paintings by Natalia Roman gather their inspiration from geometric, minimalist shapes and paintings from the beginning of Modernism, with a special emphasis on Art De...

The painting is framed behind glass. About Prymon’s Exhibition Dopaminum and his paintings: ”Dopaminum” - Tomasz Prymon Dopamine – colloquially referred to as the hormone of love ...

Beautiful lanscape painting by American artist, James Floyd Clymer (1893-1982). Newfoundland, ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. SHIPS ROLLED. James Floyd Clymer ( 1893-1982 ) known for his Regionalist style of land, sea and cityscapes, created paintings with an emphasis on color and form. His works possess a clear and simple style, easily understood by the masses. Born in Perkasie Pennsylvania, 20 miles north of Philadelphia, Clymer was the youngest of seven children. Losing his mother during childbirth, he was raised by his eldest sister. He attended Drexel University in Philadelphia, studying Art and Architecture and worked as an Architect in the years following World War I. During this time, Clymer met the artist Gwenyth Waugh, daughter of the renowned marine painter, Frederick Judd Waugh. His thrust then changed from Architect to Artist. Together, the couple travelled to destinations such as Spain and Newfoundland, where they gave birth to their only daughter. In the early 1920's, Clymer and family settled in Provincetown, MA and quickly became associated with notable artists such as Helen Sawyer...

This vibrant artwork captures a bouquet of pink flowers displayed in a glass vase, enveloped by expressive, swirling brushstrokes. This artwork named " Floral Inspiration" belongs ...

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...