Skip to main content
Video Loading
Want more images or videos?
Request additional images or videos from the seller
1 of 13

Naohiko Inukai
Yellow Diamond, Geometric

c 1968

$4,800
£3,622.43
€4,147.13
CA$6,769.59
A$7,432.17
CHF 3,877.38
MX$89,939.57
NOK 48,596.91
SEK 45,791.06
DKK 30,957.24

About the Item

Naohiko Inukai’s Yellow Diamond displays the artist’s refined, classic approach to painting. The beauty of this piece is in the lines of light lavender, red, white, and black that travel off the page – leaving the viewer to contemplate where this painting begins and where it ends. The quality of the line and the surface of the canvas display the artists mastery working within a minimalist, color field genre. Inukai studied at the Cooper Union School of Art and Architecture (1963–1967), which was a major hub for emerging artists and creative exchange during that era. Inspired by New York’s avant-garde movements, Inukai devoted himself to abstraction, utilizing oil and acrylic mediums to create works with strong compositional balance, dynamic brushwork, and vivid colors. These techniques echo the energy of the minimalist, hard edge approach that was ubiquitous at this time. Inukai’s art bridges Eastern and Western sensibilities, with his abstract painting embodying both the cosmopolitan energy of New York and the nuanced, contemplative qualities of Tokyo life. His career trajectory, moving between these cities, enabled a fusion that is evident in his visual language and approach to composition. Yellow Diamond, circa 1968 Unsigned Acrylic on canvas 32 x 32 inches
  • Creator:
    Naohiko Inukai (1937, Japanese)
  • Creation Year:
    c 1968
  • Dimensions:
    Height: 32 in (81.28 cm)Width: 32 in (81.28 cm)Depth: 2 in (5.08 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
    Tiny light black mark on left edge less than quarter inch long and 1/16 inch wide - scuff, light dirt to edges.
  • Gallery Location:
    New York, NY
  • Reference Number:
    1stDibs: LU1413216659092

More From This Seller

View All
Fiesta abstract with Yellow
Located in New York, NY
A beautiful abstraction from the 1970's by an American artist working in California but with ties to Hawaii. He melds collage with paint and creates a surface which is exquisite, la...
Category

1970s Abstract Abstract Paintings

Materials

Masonite, Dye, Acrylic, Rice Paper

Yellow and Green Composition
By Natalia Dumitresco
Located in New York, NY
Yellow and Green Composition is a striking and lyrical example of Natalia Dumitresco’s mature abstract style, rendered here on an intimate scale. IT is also framed in a very unique a...
Category

1950s Abstract Abstract Paintings

Materials

Paint, Paper

Yellow Disc on Two Squares, kinetic sculpture
By Roger Phillips
Located in New York, NY
These sculptures are automatic room changers. They bring playfulness, sophistication and a slightly more structured "Calder type" Contemporary classiness to an environment. Kinetic ...
Category

2010s Kinetic Abstract Sculptures

Materials

Enamel, Stainless Steel

Unititled II
By Richard Anuszkiewicz
Located in New York, NY
Untitled II an excellent example of Anuszkiewicz' work, its strong internal structure highlighted by intense color. The artist's vibrant, regimented compositions earned him notoriety...
Category

1960s Abstract Geometric Abstract Paintings

Materials

Acrylic

Squares
By Mario Yrisarry
Located in New York, NY
A great, great painting that will enliven any room. Squares exemplify Yrisarry’s affinity for geometric abstraction and precise, flat color planes. The use of acrylic on canvas allow...
Category

1970s Abstract Geometric Abstract Paintings

Materials

Acrylic

To Celebrate Childhood - Entally, Yellow Light
Located in New York, NY
An entrancing work about the artists childhood trip to Entally, India! A master abstractionist having spent years in Mexico with famous artists such as Rufino Tamayo - this artist had a way of presenting feelings through color and revertive brushwork. Here his childhood memory is colored in yellow - a color which speaks of his warm and rich experience which remained etched in a vivid way in his mind even in later years. He had a technique of sponging over and over dabs of paint and thru sponging could create rhythmic dots that pulsate and make his canvases glow and feel alive. He did a series of work called "To Celebrate a Childhood" and this one has a curious draw to it. It is complimented by a high quality silvered leaf frame that allows the yellow to function and glow. It measures 27 x 35 inches inside the frame and is signed with the artists cache on the back along with the estates inventory #. This work as one can see from our in-situ photo - enlivens a room and brings a positivity and welcoming aspect to a room. Would be great too with wood tones or just about any interior as yellow is a color to punctuate with yet there is a lot of detail within this canvas that draws a viewer in to take a closer look! Its provenance is estate of the artist to Messums Gallery in London. To Celebrate A Childhood-Entally, 1985 another of Michael Forster...
Category

1980s Abstract Paintings

Materials

Canvas, Acrylic

You May Also Like

Specifically Nowhere, Yellow (Abstract Geometric Painting with Grids on Yellow)
By Donise English
Located in Hudson, NY
Large abstract geometric painting with intricate line work in pencil and gouache on a bright yellow background "Specifically, Nowhere (Yellow)" made by Hudson Valley artist, Donise English, in 2022 gouache, acrylic, pencil, and colored pencil on paper, mounted on panel 48 x 48 inches unframed, 50 x 50 inches with a dark brown stained wood floater frame Surface is protected with four coats of an archival UV protective varnish Signed, verso Excellent condition and ready to hang This large abstract geometric painting was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a bright yellow background overlaid with intricate line work in graphite and colored pencil. Thousands of hand drawn lines serve as a backdrop for a bold geometric form in a dusty violet and dark gray gridded pattern that references "an imagined city grid", says the artist. The painting on paper is mounted to wood panel and complemented with a dark stained wood floater frame. It's in excellent condition and ready to hang as is. The surface is protected with four coats of an archival UV protective varnish. More about the work: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...
Category

2010s Abstract Geometric Abstract Paintings

Materials

Canvas, Gouache, Archival Paper, Color Pencil, Graphite

Untitled Yellow 02 (Geometric, Abstract, Gestural, Vibrant)
By Susan Kiefer
Located in Kansas City, MO
Susan Kiefer Untitled Yellow 02 (Geometric, Abstract, Gestural, Vibrant) Oil on Canvas 2023 Size: 16 x 16 x 1.25 in (40.64 x 64.64 x 3.17 cm) COA provided *On stretcher frame, galle...
Category

2010s Hard-Edge Paintings

Materials

Canvas, Oil, Stretcher Bars

"Jean Jean" Larry Zox, Color Field, Geometric Abstraction, Hard-Edge, Yellow
By Larry Zox
Located in New York, NY
Larry Zox Jean Jean, 1964 Signed, dated, and titled on the stretcher Liquitex on canvas 58 x 62 inches Provenance: Solomon & Co., New York Private Collection, NJ Estate of the above, 2023 Committed to abstraction throughout his career, Larry Zox played a central role in the Color Field discourse of the 1960s and 1970s. His work of the time, consisting of brilliantly colored geometric shapes in dynamic juxtapositions, demonstrated that hard-edge painting was neither cold nor formalistic. He reused certain motifs, but he did so less to explore their aspects than to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his essay for Zox’s solo exhibition at the Whitney Museum of American Art in 1973. By the 1970s, Zox was using a freer, more emotive method, while maintaining the autonomy of color, which increasingly became more important to him than structure in his late years. Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler for the Gallery of Modern Art, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, Zox was represented in the inaugural exhibition of the Hirshhorn Museum, which owns fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University. While studying at the Des Moines Art Center, he was mentored by George Grosz, who despite his own figurative approach encouraged Zox’s forays into abstraction. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers. He occasionally sparred with the visiting fighters. He later established a studio in East Hampton, where he painted and fished including using a helicopter to spot fish. In the 1950s and early 1960s, Zox’s works were collages consisting of painted pieces of paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of intense hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. From 1962 to 1965, he produced his Rotation Series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.” In 1965, he began the Scissors Jack...
Category

1960s Abstract Geometric Abstract Paintings

Materials

Canvas, Acrylic

Gometric Yellow, Painting, Acrylic on Canvas
By Catia Goffinet
Located in Yardley, PA
Ready to hang The simple and pure forms of geometry with an elegant and current reading. I have a strong passion for lines and shapes. I like to vary my work between the purity of...
Category

2010s Abstract Abstract Paintings

Materials

Acrylic

Abstract Geometric Cubist British Painting Abstract Shapes Yellow Shapes
Located in Cirencester, Gloucestershire
Contemporary British, 21st century oil on board, framed size: 21 x 10 inches board: 19.5 x 9.5 inches provenance: private collection, Surrey, England condition: The painting is in ...
Category

21st Century and Contemporary Abstract Geometric Abstract Paintings

Materials

Oil

Confluence 2 (yellow, abstract, landscape, geometric)
By Amber George
Located in New York, NY
Assembled encaustic painting fragments.
Category

2010s Contemporary Mixed Media

Materials

Mixed Media, Encaustic