Abstract Geometric Paintings

ONE WEEK ONLY SALE "Color Moves" is a colorful abstract with a broad linear element. Artist David Rubello studied and painted naturalism for many years...

Contemporary abstract geometric painting on 12 x 12 inch wood panel in colorful shades of orange, burnt sienna, with pops of yellow, grey, and white 'Mistress of All Realities', 2020, by Jeanette Fintz 12 x 12 x 2 inches, acrylic on wood panel Signed verso D-rings on reverse, simple hanging on two nails *There are three other paintings in the series, see REF LU2278336542 to purchase a set of 4 works The basic form, comprised of rotating circles stems from a geometric configuration created in a large abstraction from 2019 that strongly evoked a maternal quality because of it’s self generating fractal - like growth pattern. Off - shoots of hexagons and rhomboid shapes extend from the circles like building blocks, cellular connections, the underpinnings of unity at the base level of life. Working in a space between planning and chance, Jeanette Fintz presents a series of paintings that fuse gestural and geometric abstraction. This body of work continues Fintz’s use of the circle, ellipse and hexagon; motifs that embody references to nature, architecture and the decorative arts. The small paintings from this series offer a bright burst of form and color that would compliment any modern interior. Jeanette Fintz is an established artist working in the Hudson Valley, NY. She has taught at the School of Design Strategies at Parsons the New School for Design, SUNY Purchase, and Pratt Institute, among other American universities. Her work is collected in both private and corporate collections worldwide. To read more about her career, please scroll down for see her detailed CV and biography. Artist Statement: My paintings evolve in a space between planning & chance, systems & spontaneity, conveying contradictions that I view as metaphors for maneuvering through “real “life. In this work I play a fairly high stakes game of improvisation around a motif. Using a working method akin to jazz, I counterpoint systematically repeated elliptical shapes against gestural pours & drips and something unexpected emerges. I am drawn to create complexity, and challenged to unify multiple layers through the physicality of the paint, which fuses & knits together, as well as, ultimately, through the power of color to stabilize & resolve. The ellipse, which is hypnotic & spatial in repetition, & monumental, but not static as a shape unto itself, embodies references to nature and to the decorative arts which are both alluded to in the paintings. (The egg, the mirror, the vulva, or the shield.) Dynamic visual rhythms, in these pieces, the momentum of the repetitive ellipse, are typical of my work and help to maintain order within complexity. Their sources for me are both musical, notably the poly-rhythms of Latin jazz, Brazilian & East Indian music, and are also derived from the decorative arts, particularly textiles. The latter have been a source of excitement, often contributing a playful aspect to the paintings. I intentionally disturb the regularity of pattern, encouraging discordance & uniqueness, and then bring it back home after finding another by - way to work things through. Color is my most intuitive source of inspiration, connecting me to nature; It is also, ironically, my most passionately calculated element. In the primal struggle among sometimes apparently random components, subtlely modulated color clarifies purpose, builds context, and holds the structure together. The intuitive rhythmic order of Jeanette’s paintings prior to 2009 which featured repetitive lines, circles and ellipses clashing with fluid gestural streams of color have given way fully in the new work to a given crystalline geometric substructure that unifies all visual events. This work embraces and employs the Oneness found in sacred geometry as the underpinning for improvised pathways that give each work its uniqueness. Shapes that are found have a “role” to play, to riff off some of Jeanette’s series titles. The earlier pieces acknowledge through the unexpected visual event, the imperfection of the human condition while the newer geometries strive for the expression of spiritual wholeness and connection. About the artist: Jeanette Fintz is an abstract painter, who resides and paints in Hudson, NY. She is also an arts writer and independent curator. The intermix of being a native New Yorker and now, happily, a resident of the lush Hudson River Valley is evident in her work, which combines an urban edginess with the lyrical influences of her natural surroundings. Ms. Fintz was born in Brooklyn NY, educated at Queens College, The New York Studio School and Boston University. Her personal amalgam of NY School formalist principles, and love of natural light and color was initially forged during her summer at the Skowhegan School of Painting & Sculpture where she painted from the Maine landscape. Ms. Fintz lived and worked in the artist communities of Tribeca and Williamsburg, exhibiting regularly in NYC. Jeanette in part, credits the importance of natural light for her decision to transplant home and studio to Surprise. Ms Fintz has filtered nature through her urban sensibility, stretching color motifs towards the heightened and intensified palette often found in the realms of design and fashion. Her pieces have a rhythmic impact stemming both from her enjoyment of jazz and poly-rhythms of Brazilian and Indian origin, which she also sees displayed in the visual rhythms found in textiles and Islamic tile patterns. Jeanette’s involvement with these resources was enhanced by sabbatical travel to Spain’s Andalusia Region (2005 & 2009) to investigate patterning systems found in Moorish tiles and architecture, and to Turkey (2013), where she focused on the Iznik, Byzantine and Greco-Roman tiles and frescoes. Jeanette also had immersed herself in textile patterns and Ikat designs during her yearlong sojourn in Malaysia, where she was founding faculty in a new Parsons School of Design affiliate in Kuala Lumpur (1996-97). Selected Grants and Awards include 2015 EYP Architecture & Engineering Award, Artists of the Mohawk Hudson Region 2015 Trustees Award, Albany Institute of History & Art 2013 Sabbatical, Parsons the New School For Design 2008 The Emil & Dines Carlsen Award / Painting, National Academy of Design 2005 Sabbatical, Parsons the New School for School Design 2005 Sudden Opportunity Stipend 2003 Faculty Development Award, Parsons, the New School for School for Design 1995-92 Sudden Opportunity Stipend, NYFA Rensselaer County Council for the Arts 1993 N Y F A, Artists Fellowship / Drawing 1990 E. D. Foundation Grant / Painting 1984 Ludwig Vogelstein Grant / Painting 1980 The Ingram Merrill Award / Painting 1975 Purchase Prize, Painting, Skowhegan School for Painting & Sculpture Ms Fintz has taught as an Assistant Professor of Art & Design, in the School of Design Strategies at Parsons the New School for Design for 17 years. At Purchase College, SUNY, Jeanette taught all levels of painting and drawing for 12 years as Assistant Professor in the BFA conservatory program. She also has taught at Pratt Institute, Brooklyn, NY, Hobart & William Smith Colleges, Geneva, NY, The University of Southern Maine, Portland, The University of the Arts, Philadelphia, PA, and SUNY, Albany. Jeanette shows her work at the Garvey Simon Gallery, New York, NY, Fox Gallery, New York, NY, Geoffrey Young Gallery, Great Barrington MA, the Thompson Giroux Gallery, Chatham NY, Cross Contemporary Gallery, Saugerties, NY. Recent projects include a solo show at Garvey Simon Gallery, NY NY (Sept. 7 - Oct, 2017), and a curatorial project, "The Ritual of Construction," at the Kleinert James Center, Woodstock Byrdcliff Guild (May 19 - July , 2017). Ms Fintz’s Residencies and Fellowships include: The MacDowell Colony, The Millay Colony for the Arts, The Ucross Foundation, and Altos De Chavon & Ossabaw Island Project. Jeanette’s selected Visiting Artist spots include Art New England, Bennington College, Bennington, VT, Ohio State University, Columbus, OH, Illinois State University, Normal, IL, Hobart & William Smith Colleges, Geneva NY. Ms. Fintz received her MFA from Boston Universtiy SFA (1975 ), and her BA from Queens College CUNY (1972). She attended the New York Studio School (1972-73), and received a scholarship to the Skowhegan School in 1975. Ms Fintz’s work can be found in many national & international collections. Collections Par Capital Management Boston MA VYV Apartments, Luxury High Rise, Jersey City, NJ Boca Raton Yacht Club, Waldorf Astoria Resort, Boca Raton, FL Liberty Mutual Insurance Company, Boston, MA, and Plano, TX Robert A.M. Stern Architectural Project, Washington DC Capital G Bank Hamilton, Bermuda Brigham & Women's Hospital, Foxboro, MA Wilmer Cutler Pickering Hale & Dorr, Boston, MA Posternak Blankstein & Lund, Boston, MA Hale & Dorr, Boston, MA Analysis Group, Boston, MA National Televison, 7 Kuala Lumpur, Malaysia Christmas Island Phosphate, Singapore Jewish Free Loan Association, Los Angeles CA Rabobank NYC Commerzbank, New York, NY Commerzbank 2, World Financial Center, New York, NY National Television 7, Kuala Lumpur, Malaysia Hobart & William Smith Colleges, Geneva, NY Skowhegan School, Skowhegan, Maine Collection of Minister of Agriculture Datuk Effendi & Datin Norwawi Collection of the Former Prime Minister Datuk Seri Dr Mahathir Mohamed of Malaysia Jim & Debbie Ellickson -Brown, Cultural Attache, American Embassy, Kuala Lumpur Malaysia (1996) Rohana Tan Sri Mahamad, Kuala Lumpur, MY Suherwan Abu, Kuala Lumpur, MY & Singapore Valentine Willie, Kuala Lumpur, MY Aloysious Goh, Singapore Betsey Swan & Chris Calder, Albuquerque NM Carrie Chen & Stanley Cohen Center Hill, Copake, NY Albert & Linda Eskenazi, Montreal, CA Barbel & Peter Starz, Toulouse, FR Clarissa & Jean Kueller, Rio de Janeiro, Brazil Mr. & Mrs. Andre Keller, K L, MY & Geneva, Switzerland Shirley Greitzer, Esq. Washington DC Mark Meltzer, Los Angeles & Palm Springs, CA Joel & Fran Soroka, Aspen, Colorado Estate of Hella and Carl Ossenberg, NYC & Palm Beach, FL Estate of Gabriel Laderman, New York, NY Stephen Westfall, New York, NY Dr & Mrs Joseph Delisi, Lake Hopatcong, NJ Dr & Mrs Chris Calder & Besty Swan, Menands, NY Carol & Joachim Frank, NY, NY Mark Pettygrove, Los Angeles, CA George A Schulman, Los Angeles, CA Gerald De Silva, Los Angeles, CA Caryl Horn, Port Richmond, CA Joe & Cathy Plumber, Cold Spring, NY Molly Doland, Esq. Washington DC Bethany Beardslee Winham, Rhinebeck, NY David Fox & Associates, Inc. Briarcliff Manor, NY Eric & Carolyn Egas, Greenviille, NY & Vieques, PR Jin Zeng, New York, NY Selected Solo Exhibitions 2017 “Worldline Schreiber Paintings, plus...," Garvey/Simon Gallery 547 W 27th St, New York, NY 2016 "The Presence of the Invisible Proposition," Koussevitsky Art Gallery, Berkshire Community College, Pittsfield, MA 2012 "Andalusian Shards," The Wall Street Journal Bldg Lobby, New York, NY 2012 "The Plaid Paintings...

Robert W. Petrick Cold Fusion #20, 2022 Acrylic on canvas 27" x 27" x 1” 2022 NYC, 2nd street studio This acrylic painting on canvas is gestural in nature, with a surreal cityscap...

This hand-painted piece by Lucchetta is part of the op art series where he is able to catch movement with his unique technique. Lucchetta is challenging himself. His precise stable h...

Painting, Acrylic on Canvas 35 × 55 × 4 cm 13.8 × 21.7 × 1.6 in This is a unique work by Suzan Batu Artist Statement: The unrelenting proliferation of glass and concrete, to name s...

"GRADIENT_01" Abstract Acrylic painting 40" x 38" by DOT ABOUT THE ARTIST: By compiling concepts from multiple philosophies, DOT’s Art seeks to explore an ...

High Frequency/Slow Shift (Abstract Painting) Acrylic on canvas. Unframed. This work is a triptych which focuses on a shallow, mostly monochromatic surface that include bas-relief planes “locked” together against a more “fluid”, painterly background. The dripped surface of that background is only seen through small openings, or gaps between the flat, assembled forms. The tension of overlapping foreground shapes and the contrary background treatment is accentuated by the high-key yellow color that pushes the composition forward toward the viewer. It creates a drama that might not readily be associated with such a shallow space that includes subtle shifts and provides a perceptual twist that has a kind of electric visual charge. Macyn Bolt is an American abstract painter. Using a visual language informed by geometric abstraction, he creates artworks that examine how color and form create shifts in visual perception. He lives and works in Brooklyn, NY, and upstate Pennsylvania. Bolt works with acrylic paint on a variety of surfaces including canvas, wood panel, vinyl and paper. Using scrapers...

GPB Slurp (Abstract Painting) Acrylic on aluminum - Unframed Hallard works with the themes of space and geometry, manipulating images and arrangements of objects in order to challe...

High Frequency/Slow Shift (Abstract Painting) Acrylic on canvas. Unframed. This work is a triptych which focuses on a shallow, mostly monochromatic surface that include bas-relief planes “locked” together against a more “fluid”, painterly background. The dripped surface of that background is only seen through small openings, or gaps between the flat, assembled forms. The tension of overlapping foreground shapes and the contrary background treatment is accentuated by the high-key yellow color that pushes the composition forward toward the viewer. It creates a drama that might not readily be associated with such a shallow space that includes subtle shifts and provides a perceptual twist that has a kind of electric visual charge. Macyn Bolt is an American abstract painter. Using a visual language informed by geometric abstraction, he creates artworks that examine how color and form create shifts in visual perception. He lives and works in Brooklyn, NY, and upstate Pennsylvania. Bolt works with acrylic paint on a variety of surfaces including canvas, wood panel, vinyl and paper. Using scrapers...

Precise squares in orange, rust red, green, grey, maroon and white dance, overlap and swirl on a washed canary yellow ground in this intimate canvas by Milly Ristvedt. Color and the grid are the focus of Ristvedt's paintings that through one's lens of experience will reveal a narrative. "Painting is my freedom 'to be' in the world, to transform what I think and feel about life, to express the essence of things that matter. Colour is the magical sensation and substance, the 'philosopher's stone,' that for me represents hope in a time of great challenge for us all." Milly Ristvedt Early in her career in Toronto in the late 1960s, Ristvedt shared a studio with Canadian painter Jack Bush, met art critic Clement Greenberg and was inspired by American painters Jules Olitiski and Frank Stella. Ristvedt's work can be found in major public collections including the Art Gallery...

SALE ONE WEEK ONLY "Geostructure X" is an intensely colorful painting of the primary shapes of the circle, square, and triangle. Though the shapes are repetitive their mixed juxtapositions and the creative use of color moves the eye around the canvas with constant interest. This painting is an extraordinary example of Franklin Jonas...

Yellow tango. 2018, oil on canvas, 90x100 cm Abstract composition in red, blue, yellow colors Igor Leontiev (1957) - one of the leading independent pain...

Oil and gouache on canvas, geometry, vibrant colors

Abstract geometric painting on canvas in red, grey, white, yellow and black Kingsware, 1990 40 x 40 inches oil on canvas This square contemporary, abstract oil painting in graphic ...

"Right on Red," Oil and Acrylic on Linen, 11 x 9 Inches, is a vibrant and elegant geometric abstraction of one bright red floating square tilted on a field of brilliant yellow. Exqui...

Large, abstract geometric painting in bright yellow, blue, with accents of pale pink Oil on canvas, unframed 64 x 60 x 2 inches Signed on reverse Wire and d-rings installed on the b...

Represented by George Billis Gallery, NYC & LA --Steven Kinder talks a lot about energy, form and movement and getting at the essence of something. Getting to the middle of it. He wa...

A mid century modernist oil painting. No signature found. Circa 1960. Image size, 48"L x 32"H

Represented by George Billis Gallery, NYC & LA --Steven Kinder talks a lot about energy, form and movement and getting at the essence of something. Getting to the middle of it. He wa...

Oil on canvas.