Paper Paintings

This contemporary abstract expressionist portrait of a woman was created by French artist Natalya Mougenot. Bold, vivid, and emotionally charged, the piece—titled "True Self"—explore...

'The French Rooster', gouache on art paper, by Raymond Debiève (circa 1960s). A Mid-Century modern depiction of the French coq, or rooster. The origin o...

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...

Large Scale Ocean Seascape Abstract Monoprint - Acrylic and Pastel on Paper A dynamic large-scale vintage abstracted seascape Monoprint by Dennis Frings...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

Jesse’s imagery often merges playful and gritty elements, blending floral patterns, vintage-inspired designs, and bold outlines with a touch of whimsy. His artwork exudes a sense of ...

This piece is executed with hand cut butterflies, and comes displayed in an acrylic shadow box. These works conjure sensations of nostalgia, created from paper, cutting out colorful ...

Abstract painting accented in bright hues of red, blue and a soft lavender by French artist AM Vivent, 1986. Signed and dated lower right. Original artwork on paper displayed on a ...

In this contemporary abstract painting in acrylic on Yupo paper, carefully ordered stripes of color in rich shades of violet and magenta transition throughout gradient purple hues. S...

This is a beautiful landscape painting by Alexandra Czierpka. By reducing color and form to their essentials, she invites the observer to contemplate the harmony between humans and n...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

"Could Be Good" is a one-of-a-kind original work by Amanda Marie (Mando), created using acrylic and aerosol on paper. The piece measures 19.75 × 27.75 inches and is pencil signed and...

This is a large, framed acrylic painting with collaged photographs, gold leaf, metallic paint, and other mixed media. Is it by artist Lavett Ballard, who is the first Black woman to ...

This artwork, titled "Fort on the Hill," is a mesmerizing exploration of light, color, and form. The painting captures a historic stone fort nestled amidst a lush landscape of robust...

Light Through the Trees (Lumière à Travers l'Arbre) Raymond Thibesart (France, 1874-1968) Pastel on paper, circa 1920s Signed l.l. 12.5 x 9.5 (13/4 x 16 3/4 framed) inches Raymond...

Lyrical abstract expressionist gouache on paper by French artist Michel Loiseau. Signed bottom right. Michel Loiseau-Rizzo, born in 1937 is an illust...

Peter Joyce British, b. 1964 Under The Cliffs, 2025 acrylic and collage on paper 112 x 77 cm 44 1/8 x 30 1/4 in signed, dated and titled verso Peter Joyce was born in Poole, Dorset,...

Los Angeles street artist Gary John exploded onto the international art scene during the Art Basel Miami art fair in 2013. John’s playfully bold work quickly gained attention and he ...

Giancarlo Impiglia Painting on Paper in Lucite Frame. In good condition measures 53x38

Milton James Burns was born in Mt. Gilead, Ohio, in 1853. A founding member of the Salmagundi Club in New York, Burns became a highly acclaimed marine painter, one of the few who was...

Sunsets on the Hudson (Abstract Painting in Blue, Pink and Metallic Gold), 2019 by Bruce Murphy 38 x 42 inches, unframed, enamel paint on archival paper Signed, verso This gestural ...

An Elegant, Stylish Gilded Age Themed Interior Scene / Set Design by notable stage set, costume and fashion designer, Andre Delfau (Fr./Am. 1914-2000). Artwork is gouache on paper, ...

"Portrait of a Basset Hound" Léon Espinasse (French, c. 1870 to 20th century) Watercolor on paper Signed lower left 12 x 9 3/8 (23 ¾ x 21 frame) inches A stunning exercise in comple...

Bungalow (fauvist painting of New York scene) 1940's. image is 10X 11.5 inches. Hand signed lower right Watercolor painting on paper board Country Scene Samuel Grunvald was a Hunga...

I saw the painting in the blooming steppe in spring. Steppe in Bloom in Spring. In this enchanting painting, I invite you to a blooming meadow under a muted, tranquil sky. I used th...

Frank Chabry (1916-1979) was a 20th-century artist whose career spanned several transformative decades in the art world. His work likely reflects the artistic evolution of the mid-20...

Summer – Lotus is a unique painting by contemporary artist Lumi Mizutani. The painting is made with japanese pigments, silver and gold leaves on Japanese paper mounted on panel, dime...

This artwork seamlessly fuses delicate linework with vibrant splashes of color, creating a harmonious garden scene. Central to the piece are ethereal butterflies, their wings painted...

Small artwork offers an intimate form of personal expression. In this work on paper, careful attention to detail captures a chic, timeless sensibility. Expressive paint and pencil co...

"Not True, Good Accounts Make Good Friends" Satirical French Illustration Comical illustration by Gaston Hoffmann (French, 1883-1977) titled "Ce n'est pas vrai, les bons comptes fon...

French artist Natalya Mougenot presents a new series of small oil paintings inspired by the quiet beauty of everyday life. "Just Oranges" is one of the pieces from this collection—a ...

This Fortuny style dress is an artwork on paper blending paint and color pencil. Composition, intuitive mark-making and delicate detail make for an...

This artwork showcases a vibrant bouquet of sunflowers arranged in a simple white vase, capturing the essence of rustic charm. The sunflowers are depicted in varying stages of bloom,...

America Martin "Woman & Bird" Ink on Paper 11.5 x 7.5 inches America Martin is an internationally represented Colombian-American fine artist based in Los Angeles. America is a ...

Gorgeous midcentury painting of crystal decanter and clear glass vessels against a vivid orange backdrop by Donald Werden (American, b. 1921). Signed and...

This abstract piece "Resilient reflection" is part of Natalya's series dedicated to "Women," where the artist explores the complexities of womanhood and femininity. Through this work...

"Washington Square" is an original painting by Tom Haugomat, made as part of his traveling artist residency with The Jaunt. Traveling from France to Philadelphia, Haugomat was inspir...

“Art Deco Crick Triptych” is a unique handmade monotype cyanotype triptych inspired by Miami Art Deco architecture. Repeating geometric forms echo breezeblock facades, while soft cya...

Geometric Line Studies C- 5 is an original mixed-media work on paper by Toronto artist Murray Duncan, part of his ongoing exploration of gestural geometry, spatial rhythm, and atmosp...

Costa Rica! Still Life with Guitar, Fruit, Wine, and Newsprint in Oil on Canvas Still life in a semi-cubist style by Irene Pattinson (American, 1909-1999). On a reddish-purple table, there is a plate with two apples, a bottle of wine, and an acoustic guitar. The guitar's headstock is shown extending from where the neck meets the body, implying a cubist interpretation of the scene. At the back of the still life arrangement, there is a (collage) newspaper with "Costa Rica!" in the headline. At the left of the composition, there is a curtain or cloth draped across part of the scene. Signed "Irene Pattinson" on verso. No frame. Canvas size: 32"H x 24"W Irene Pattinson (American, 1909-1999) studied at the California School of Fine Art (now The San Francisco Art Institute), San Francisco State College and The Marion Hartwell School of Design. She was President of the San Francisco Woman Artists Association 1955-56. Provenance:The Artist, Estate of Irene Pattinson: David Carlson; Estate of Larry Miller Fine Art, Robert Azensky Fine Art Solo Exhibitions: Lucien Labaudt Gallery 1955; San Francisco Museum of Art, 1961 (39 works) Selected Group Exhibitions: San Francisco Art Association Annual 1948, 54, 55; San Francisco Woman Artists, 1957-1960; Oakland Art Museum Annual, 1951, 58; California Palace of the Legion of Honor, 1960; Richmond Art Center, 1955, 56, 57, 58; San Francisco Art Institute 1959, 60. The Art Bank of the San Francisco Art Association, 1958, 59, 60, 62, 63; Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1960; Fourth Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1963; Awards: First Place, San Francisco Woman Artists Assoc., 1957, 1959; San Francisco Art Festival 1957;Literature: San Francisco Art Institute - A catalog of the Art Ban 1962/63; San Francisco and the Second Wave: The Blair Collection Exhibitions: 1963 The Art Bank of the San Francisco Art Association, San Francisco, CA 1963 California Palace of The Legion of Honor: Forth Winter Invitational, San Francisco, CA 1962 The Art Bank of the San Francisco Art Association, San Francisco, CA 1961 San Francisco Museum of Art, San Francisco, CA 1960 California...

Valerie Etitinwo's unique approach to abstract figurative painting celebrates the unconventional beauty found in imperfection and awkwardness. The Nigerian-Swiss artist uses bold col...

A unique pair of vintage herbarium / botanical displays collected and created by S. Lindwald in June 1946 in Sweden. These botanical specimen are preserved behind glass in a new doub...

This vibrant floral abstract artwork titled "Pink Blooms," created by French artist born in Kazakhstan, beautifully captures the essence of blooming roses through bold and expressive...

This is an exclusive handprinted limited edition cyanotype. "Pacific Sunset Waves" is an original cyanotype that abstractly shows the sunset reflections on the sea. Details: + Titl...

"Inner Space" (FRAMED) Abstract Painting 36 x 36" inch by Yoram Katz Medium: Pencil on Paper Size framed: 39 x 39 inch Signed by the artist ABOUT THE ARTIST: Born in Israel. Gradua...

French Fauvist landscape drawing on card by Auguste Chabaud. The drawing is signed bottom left and carries the atelier stamp and reference numbers to the back. Presented in a fine bl...

Signed lower right 'H. Frank' for Harold Frank (American, 1917-1995), additionally stamped, verso, with certification of authenticity and painted circa 1975. An exuberant Post-Impre...

Krisanne Souter weaves together elements of nature and ancient feminine archetypes, such as the Mother and the Mystic. Botanical themes, playful elements, and unexpected surprises ar...

Louis is a unique painting by French contemporary artist Guillaume Chansarel. The painting is made with ink and acrylic on old book pages mounted on canvas, dimensions are 50 × 100 c...

JB Nearsy Companion 2020 Mixed Media on paper Size: 41x37in Signed by hand COA provided Ref.: 924802-1774 -------------- Tags: abstract art, post graffiti, street art, neoexpressio...

This vibrant artwork is a masterful still life depicting a lush bouquet housed in a dark, elegant vase. Bold, vivid flowers such as peonies and tulips bloom with striking presence, t...

White Water Lilies in a Pond, signed and dated E. Jolin 1902, is a charming and intimate depiction of a quiet summer moment by the Swedish female artist Ellen Jolin (1854-1939). Possibly, the depiction is from Étang de Saint-Cucufa, within the forest of Malmaison. In the foreground a small, partly visible wooden jetty extends gently into the still water. Beside it, clusters of white water lilies float calmly on the surface of the pond, their delicate blossoms reflected in the quiet water. The restrained composition and soft handling of light convey a sense of tranquility and contemplative stillness. Executed on a modest scale, the painting demonstrates Ellen Jolin’s sensitivity to everyday natural motifs and her ability to capture atmosphere through subtle tonal variation and careful observation. Maria Helena “Ellen” Jolin was born in Stockholm in 1854 into a culturally active Swedish family. Her father, Johan Jolin, was a noted actor and playwright, and the artistic atmosphere of the household encouraged her early interest in drawing and painting. She belonged to an extended artistic milieu and was later the aunt of the well-known Swedish modernist painter Einar Jolin...

This is a beautiful landscape painting by Alexandra Czierpka. By reducing color and form to their essentials, she invites the observer to contemplate the harmony between humans and n...

This artwork showcases a vibrant coastal landscape, masterfully capturing the interplay of light and shadow. The foreground reveals a vivid turquoise sea, with dynamic brushstrokes t...

Signed lower right, 'Jean Remy' (French, born 1893), titled, 'Paris' and painted circa 1955. A large and dynamic, Post-Impressionist cityscape showing a view of a picturesque Parisi...

Still day by the loch by Natalie Bird is an impressionist style painting of a Scottish landscape. Hills and mountains appear in the background of the loch in different tones of blue....

This series of abstract geometric paintings by Natalia Roman draws its inspiration from the sleek grids and curves of Bauhaus architecture, while at the same time exploring bright an...

Monogrammed lower left, 'VSR' for Virginia Sevier Rogers (American, 1916-2015) and stamped, verso, with certification of authenticity. Born in Fort Collins, Colorado., Virginia Sevi...

'Parc des Buttes-Chaumont' in Paris, gouache on art paper, by Lucien Génin (circa 1930s). A charming depiction of well turned out Parisians enjoying a day at the park. Boaters, strollers and swans all co-mingle around the peaceful lake. The reflection of the rocky bluff in the water is superbly treated by Génin. It's a cheerful and uplifting image of days-gone-by in 1930s Paris. The park takes its name from the 'bare hill' (chauve-mont) that once occupied the site. It became a place where gypsum was mined, and where the limestone was quarried to be used in buildings in Paris and the United States. Worse, though, it was a site that also became a dumping ground. Luckily, during the 19th-century renovation of Paris under Napoleon III, chauve-mont was chosen as a place for a large park, as part of the emperor's fascination with endowing Paris with green spaces. The artificial lake created at that time wraps around a hilly central island. The lake attracts waterfowl and other birds and is stocked with fish. The 19th-century planners cleaned up the site and added tons of soil to fill the pits left by a limestone mining operation. Then dynamite was used to "sculpt" the site into the craggy shapes seen today, including the 50-metre-high central hill with cliffs, an interior grotto, pinnacles, and arches. Up on top, overlooking the rest of the park - and depicted in this artwork - is a small, round belvedere, based on the Roman Temple of Vesta in Italy. From that spot you can see a lovely view of Montmartre and the white cupolas of the Sacre-Coeur. The painting is in very good condition. It has been newly framed and glazed with museum-quality glass (anti-reflective and UV protection) to preserve this significant artwork for decades to come. Dimensions with frame: H 62 cm / 24.4" W 76 cm / 29.9" Dimensions without frame: H 48.5 cm / 19.1" W 63 cm / 24.8" About the Artist: After the devastation of the First World War, Lucien Génin (1894 - 1953) left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Génin befriended the painters Frank Will, Gen Paul, Émile Boyer, Marcel Leprin...

The colorful abstract artworks of Romanian artist Alex Voinea are inspired by experiments with paint poured over vibrating surfaces, such as speakers at full volume. Alex Voinea coll...