Graphite Paintings

FLD 26/2808 (Abstract painting) Graphite on Arches Ingres paper - Unframed. Image's size: 55 x 55 cm/21.6 x 21.6" The simplest reading of Henderson’s work is that he is a painter ...

Monochrome abstraction Part 1 (Abstract painting) Acrylic, charcoal and graphite on canvas - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s...

Waterlilies 3 (Abstract painting) Acrylic, oil bar, oil pastel and graphite on canvas - Unframed. Artwork exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resi...

Monochromatic Series – Nr 2 (Abstract painting) Acrylic, charcoal, graphite and oil pastel on (off-white) canvas - Unframed. Artwork exclusive to IdeelArt. This artwork will be sh...

(r) evolution 28 (Abstract painting) Graphite and oil on panel - Unframed. This painting is part of a series titled (r)evolution which started in 2014. This process-based series i...

(r) evolution 28 (Abstract painting) Graphite and oil on panel - Unframed. This painting is part of a series titled (r)evolution which started in 2014. This process-based series i...

The Mediterranean (Abstract painting) Acrylic, charcoal and oil pastel on canvas - Unframed. This work will be shipped rolled in a tube. Artwork exclusive to IdeelArt. Adrienn Krah...

(r) evolution 28 (Abstract painting) Graphite and oil on panel - Unframed. This painting is part of a series titled (r)evolution which started in 2014. This process-based series i...

Balancing act 2 (Abstract Painting) Gouache, graphite and ink on Rives paper. Unframed. Balancing Act 2 is part of a series of works on paper started in 2016. They are created in the evenings and aptly named after busy days of teaching and other responsibilities. The artist establishes parameters involving the use of a particular palette, certain mark-making gestures and amount of time spent on each drawing. This work incorporates graphite, ink, and gouache, and is a combination of intuition-based and planned execution. Tracey Adams is an American abstract painter and printmaker. Her artworks reflect a strong interest in musical patterns, rhythms, lyrical compositional elements and what she calls a sense of performance. She lives and works in Carmel, California. Work by Adams is part of the permanent collections of several museums, including the Bakersfield Art Museum, the Monterey Museum of Art, the Fresno Art Museum, the Tucson Art...

BP18, BORINGCAPITALIST, 2019 (Abstract painting) Acrylic, graphite on paper - Unframed. Daniel Gottin's interest and concept are to examine the subject...

Storm Horizontal 82 (Abstract drawing) Graphite and color pencil on Mylar. Unframed. So many different storms, so hard to capture. Beginning in the wake of hurricanes Irene and S...

Lux on the 5th (Abstract painting) Acrylic, charcoal and graphite on paper - Unframed. Artwork exclusive to IdeelArt. Adrienn Krahl’s paintings expre...

Gouache, graphite and ink on Rives paper - Unframed This work (unframed) incorporates graphite, ink, and gouache, and is a combination of intuition-based and planned execution. Ba...

Acrylic, graphite and thread on canvas - Unframed. The threaded lines suggest a physical barrier that interrupts the shapes and stops them from connecting and at the same time a tra...

Yvette Cohen makes art that transforms space. Her oil paintings of geometric masses of color on shaped canvas look sculptural, but mount flat on the wall. Paintings become objects ...

Yvette Cohen makes art that transforms space. Her oil paintings of geometric masses of color on shaped canvas look sculptural, but mount flat on the wall. Paintings become objects ...

Yvette Cohen makes art that transforms space. Her oil paintings of geometric masses of color on shaped canvas look sculptural, but mount flat on the wall. Paintings become objects ...

Yvette Cohen makes art that transforms space. Her oil paintings of geometric masses of color on shaped canvas look sculptural, but mount flat on the wall. Paintings become objects ...

Yvette Cohen makes art that transforms space. Her oil paintings of geometric masses of color on shaped canvas look sculptural, but mount flat on the wall. Paintings become objects ...

Nauset by Joseph Conrad-Ferm, 2021 Acrylic paint, spray paint, marker, oil pastels, color pencil, and graphite on canvas. W 48" x H 60" x D 1.5" "Nauset beach is one of the most m...

Generous by Rose Umerlik is an abstract painting, Oil and Graphite on wood panel, 48 x 36. This is part of a new 2022 series. According to Umerlik, " I became a mother this past ye...

Abstract geometric composition by California artist Jay Weiner (American, 20th Century). Signed and dated "Jay Weiner 2006" in the lower right corner. No frame.

Completing by Rose Umerlik is an abstract painting, Oil and Graphite on wood panel, 49 x 36. This is part of a new 2022 series. According to Umerlik, " I became a mother this past ...

"It's Springtime Somewhere In the World" is an abstract painting by Rebecca Sobin executed in oil, cold wax medium, and pastel powder, and rice paper on a cradled wood panel; measuri...

graphite & ink on trace paper

graphite on mylar

gouache & graphite on mylar

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

24"x30" oil, graphite on canvas, signed on reverse by the artist. This contemporary abstract painting by New York artist, Mark Masyga is visually laid out with painted lines of color intertwined and layered on top of each other. The neutral warm grey ground is activated by the multiple layers of paths of blues, beige, cream white, dark greys and near blacks, interspersed with fine curved and bent lines of light green, orange, lavender and rose pink. This is an engaging linear abstract painting with an immense visual depth of field. This painting is featured in a solo show released by the Front Room Gallery in New York, entitled, "Charitable Deceptions". In this new body of work, the title “Charitable Deceptions,” refers to a passage written by Gabriel García Márquez in which, “…memory eliminates the bad and magnifies the good.” Mark Masyga ruminates on this concept through his process of addition and subtraction in his compositional constructions. The linear abstract paintings in this exhibition chronicle a passage of time as explored through the artist’s application...

Collaborate by Rose Umerlik is an abstract painting, Oil and Graphite on wood panel, 36 x 48. Rose Umerlik extracts the intangible emotional moments that live in our collective human psyche and interprets them abstractly through form, line and color so that they may also exist outside of ourselves. In recent years, Umerlik has shown in seven solo exhibitions and innumerable group shows domestically and internationally, published a book of work titled Intimacy of Forms, received notable reviews in such publications as Art New England, and been awarded the Clowes Award by the Vermont Studio Center. The most affecting experience of Umerlik’s career to date has been her two-month stay in the Takt Kunstprojektraum Artist Residency in Berlin, Germany. She was named a 2018 Vermont Artist...

Abstract II Absence of Impetus, Acrylic paint on canvas. Impetus denotes the transmission of power from mover to moved. Want of impetus is not necessarily a lack of impetus. L...

Graphite, Watercolor, and Dry Pigment on Canvas.

Amulet, metal object with rust paint mixed media on wood panel, 2020. Amulet, on a wood panel, applied rust and acrylic paint and mixed media, suggests how an object is precious as i...

Barnstable by Joseph Conrad-Ferm, 2022 Acrylic paint, spray paint, marker, oil pastels, color pencil, and graphite on canvas W 58" x H 68.25" x D 1.5" "Barnstable county is a mass...

Collage, acrylic and graphite on paper. This abstract collage by the New York/ Hawaiian artist, Debra Drexler, incorporates cut paper, drawing and impasto brushwork with poured pain...

Based in the New Haven, CT area, Barbara Marks creates sumptuous, multicolored paintings. Her canvases are small in scale, compared to the mid-century abstractionist traditions they ...

Based in the New Haven, CT area, Barbara Marks creates sumptuous, multicolored paintings. Her canvases are small in scale, compared to the mid-century abstractionist traditions they ...

Based in the New Haven, CT area, Barbara Marks creates sumptuous, multicolored paintings. Her canvases are small in scale, compared to the mid-century abstractionist traditions they ...

Based in the New Haven, CT area, Barbara Marks creates sumptuous, multicolored paintings. Her canvases are small in scale, compared to the mid-century abstractionist traditions they ...

STILL LIFE ANTIQUE WHITE Graphite and oil pastel on paper Size: 39 x 46.5 cm (including frame) An engaging and powerful abstract composition by British contemporary artist Lloyd Dur...

Danny O’Connor is an artist based in Liverpool, he graduated from Liverpool John Moores Art School where he studied graphic arts. Danny is predominately a figurative and portrait ar...

Alyse Rosner 2021

Mixed media and graffiti on an original lined antique canvas by Antonio Polinori that had undergone restoration in the early 19th century. The work comes with a data sheet dated 1820. In Antonio Buonfiglio...

Abstract mixed media painting in red, white and light green. Jylian Gustlin is a native Californian and grew up in the San Francisco bay area. She has been shaped by the technology...

Liz Barber pursued painting while obtaining her degree from the Massachusetts College of Art and Moore College of Art. She currently resides in Marietta, Georgia. Barber’s paintings ...

After living and working in the various disciplines of Japanese culture from long-bow archery to tea ceremony Majio began to cultivate a different relationship to things. No longer p...

Gouache and graphite on handmade paper. 18 x 12 inches unframed, 23.25 x 17.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

Gouache and graphite on handmade paper. 24 x 18 inches unframed. 28 x 22.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

These works reflect the animism of Japanese culture and Zen training. Living in temples and the countryside with craftsman communities in Japan for over a decade, Majio was deeply in...

Luke Jackson "Tradescantia Zebrina I" 2023 51” x 51” (framed) Graphite, Water, Eraser, on Paper About the Artist: Luke Jackson is a visual artist who has been based in Brooklyn, ...

The materials are acrylic paint, and simple marking implements of graphite and Art Graf. Art Graf is a water-soluble media that comes in tailor’s squares, easily fitting into the han...

Luke Jackson "“Lightship” 2023 Graphite, Acrylic Ink, Oil on Canvas 48” x 36” inches About the Artist: Luke Jackson is a visual artist who has been based in Brooklyn, NY for the ...

Liz Barber pursued painting while obtaining her degree from the Massachusetts College of Art and Moore College of Art. She currently resides in Marietta, Georgia. Barber’s paintings ...

Waterlilies 3 (Abstract painting) Acrylic, oil bar, oil pastel and graphite on canvas - Unframed. Artwork exclusive to IdeelArt. This artwork will be shipped rolled in a dent-resi...

Danny O’Connor is an artist based in Liverpool, he graduated from Liverpool John Moores Art School where he studied graphic arts. Danny is predominately a figurative and portrait ar...

False Bar II Oil, bitumen, graphite, sand, dry pigment on paper laid on canvas 38" x 50" I am a visual artist whose work investigates small and large -scale abstraction primarily i...

Mirror to the Sun III Oil, graphite, litho ink, spray paint, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primaril...

Mirror to the Sun II Oil, graphite, litho ink, spray paint, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primarily...

Mirror to the Sun Oil, graphite, litho ink, dry pigment on paper 40" x 26" I am a visual artist whose work investigates small and large -scale abstraction primarily in the medium o...