Abstract Geometric Paintings

Field Notes I By Murray Duncan Mixed media on paper Size: 32" × 40" Unframed, signed A richly layered mixed-media composition built through gestural graphite, charcoal, and earth-to...

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...

Hildegarde Haas (American, 1926–2002) Classical Music Series: Inspired by Bach Mid-20th Century Watercolor on paper Dimensions: 19¼ × 22¾ inches A vivid and conceptually rich exampl...

Signed & dated Verso. 1965 Paul Reed in 1970. He favored “staining” untreated canvas. Paul Reed, the last surviving member of the Washington Color School, who explored the complexities of color and form in vibrant bio-morphic and hard-edge abstract paintings, died on Sept. 26 at his home in Phoenix. He was 96. His death was confirmed by his daughter, Jean Reed Roberts. Mr. Reed acquired his public identity as an artist when he was included, along with Gene Davis, Kenneth Noland, Morris Louis, Thomas Downing and Howard Mehring, in “The Washington Color Painters,” a landmark traveling exhibition that began at the Washington Gallery of Modern Art in 1965. All of the other painters had been shown, the year before, in “Post-Painterly Abstraction,” a 31-artist exhibition at the Los Angeles County Museum of Art organized by the critic Clement Greenberg in an effort to write a new chapter in the historic march of abstract art. Like his fellow Washington artists, Mr. Reed rejected the hot, gestural approach of Abstract Expressionism and explored color and abstract forms in a cooler mode. Working with diluted acrylic paint, in discrete series that methodically explored formal issues, he created luminous fields of color by letting the paint bleed into, or stain, untreated canvas. “I have a saying: Pollock dripped, Frankenthaler poured,” he told The Washington Post in 2011, referring to the artist Helen Frankenthaler. “Morris Louis poured. Howard Mehring sprinkled. I blot.” In his first stained series, “Mandala,” color radiated from a circular central image. The nearly 100 paintings in his “Disk” series, which he called “a matrix for exploiting color,” consisted of a central circle and two triangles positioned at the corners of the canvas. Over the next decade he moved to hard-edge geometric zigzags and stripes in the vertical “Upstart” series, color grids and shaped canvases that allowed for more complex experiments in form and color relations. He also made welded steel sculptures and, in the “Quad” series of the 1980s, collaged photographs. “Reed was, in a sense, the ‘little master’ of that first batch of Washington colorists,” the critic Benjamin Forgey wrote in The Washington Post in 1997. “He was a latecomer — he didn’t turn seriously to painting until he was in his mid-30s — but he never considered becoming anything other than an abstract painter. And when he was ready to show, in his early 40s, he was a very good abstract painter indeed.” Mr. Reed gave himself a more modest assessment in an interview with NPR last year. “I’m sort of low man on the totem pole of that group of six,” he said. Paul Allen...

Alma Prism stands at the intersection of art and ethics, creating geometric abstraction designs that are as responsible as they are beautiful. Through our collaboration with skilled ...

Untitled I by Rubeena Ratcliffe is an abstract painting layered with geometric forms, float-framed in light wood. Subtle linear textures appear throughout the shapes, adding gentle r...

Tranquil original oil painting–by noted Swedish artist Fabian Lunqvist–of a Spanish village rendered in varying tones of white and gray. The striking Modernist composition and palett...

Virus Americanus XII, 2002 oil enamel on canvas 150 x 128 inches

Square Energy Pink by Ron Agam, Geometric Abstract Painting, 2026 Acrylic Paint Epoxy Resin 20 x 20 inch Square Energy Pink reflects Ron Agam’s ongoing exploration of color, geometr...

Cerj Lalonde, born in 1954 in Canada, is a multi-talented artist known for his diverse creative expressions. With an adaptable spirit, Lalonde seamlessly ...

This modular work features hues of red and blue. Three separate pieces hang together to create one piece. Nancy is inspired by the works of Carmen Herrera, Deborah Zlotzky and Grazi...

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...

Artist: Irwin McFadden, American Title: Variants Year: 1972 Medium: Acrylic on Canvas, signed and dated verso Size: 19.5 in. x 19.5 in. (49.53 cm x 49.53 cm) Frame Size: 25 x 25 inches

Robert W. Petrick Come Again Construction Series East Village NYC , 2022 acrylic on canvas NYC, New York, 2nd street studio Colorful geometric abstract acrylic painting on canvas fr...

Mary was born in Ohio and has lived in Memphis, Tennessee since the mid-1990s. Following studies in graphic design and painting, she began working in encaustic in 2001. Mary grew u...

Mangata X continues Melisa Taylor Metzger’s exploration of light, structure, and materiality through her signature fusion of pyrography and airbrushed pigment. The work evokes the el...

Bands, squares and rectangles in pink, mauve, aqua and black dance across a fern green ground in this horizontal acrylic on canvas. The curated, lively composition intersects music, ...

Rectangles and squares, large and small, in orange, mauve, blue and more, dance across a light green ground in this vibrant acrylic painting by Burton Kramer. The title of the painti...

The Seismology of Cantilevered Hearts by Melisa Taylor Metzger transforms a circular plywood panel into a radiant field of layered abstraction. Through a vibrant interplay of burgund...

Emerald Whispers 24.0 × 36.0 × 0.75, 5.0 lbs Acrylic paint Hand signed by the artist Artist's Commentary: ""Emerald Whispers" - A contemporary abstract that commands attention thr...

Recueillement, whose title evokes a state of inward contemplation and quiet reflection, is a large abstract geometric painting by French contemporary artist Sophie Dumont. The compo...

Abstract Composition British School, monogrammed/ dated lower corner gouache painting on paper laid over card, unframed actual painting: 22 x 15.5 inches Superb - bold - and very co...

Bands of light, blue green orange and red are stacked at angles, intersecting like shards from a kaleidoscope in this acrylic by Burton Kramer. The apt title of this dynamic composit...

Teal Between Measures, Blue Emerald by Melisa Taylor Metzger explores the tension between structure and atmosphere through a striking interplay of material and form. Rendered on wood...

Flux by Rubeena Ratcliffe is an abstract painting featuring bold, interlocking shapes that create a lively, contemporary composition, float-framed in light wood. Repeating linear tex...

Kramer’s modern and graphic paintings express lyrical, geometric abstraction via a harmonic interplay of syncopated shapes of various sizes and colors. This work includes primary and...

"SPRAY_01" Abstract Painting 40" x 65" by DOT ABOUT THE ARTIST: By compiling concepts from multiple philosophies, DOT’s Art seeks to explore an idea that has developed from different roots. Through the use of repeating geometric patterns enhanced by different color theories. A hallucinatory visual field is created. Thus forcing the viewer's perspective to be pushed into a moment of visual confusion. According to theories in Neuroplasticity, these perspective shifts are catalysts that have the potential to rewire neural pathways and ultimately affect thinking and behavior. Being self-taught DOT leaned into his understanding of scientific concepts and techniques to develop his artistic explorations. In his most recent body of work, a surgical repetition of shifting color fields reflects his curiosities in the space of visual perception. These lines tend to create a static movement...

GEOMETRIC NEIGHBOURHOOD Size: 40 x 72.5 cm (including frame) Oil on Canvas A playful and brilliantly executed mid-century composition of a neighbourhood, painted in oil onto canvas ...

A staccato of small squares, rectangles and fine horizontal and vertical dashes in violet, orange, green, yellow and pink, scatter across a large white square that is further framed ...

"Banana skin yellow pill" is one of the 30 small tondo paintings on wood comprising the Dopamine mosaic. This 30-piece ensemble was created between January and April 2024 by the arti...

Connected Curves is a striking and impactful large-format painting created in the 1960s by Domenick Capobianco. The work is part of a catalog of bold, post-modernist pieces by the ar...

Gates to your dreams. 2023., oil on linen, 140x120 cm Modular artwork from 4 pcs. - 70x60 cm total size 140x120 cm Alyona Prokofyeva (1988) From 2016 surname Galaktionova. Alyona...

Plaines & Mines, d’Ombre 2025.2 by Melisa Taylor Metzger envelops the viewer in a delicate tension between structure and atmosphere. Diaphanous layers of cool greens and blues, lilac...

"Cherry Coke Red Pill" is part of Dopamine Mosaic, a series of 28 tondos created by Melisa Taylor Metzger in the winter of 2024. This layered piece blends pyrography, airbrushing, an...

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...

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

Born in Turin, Italy in 1963, Alex Bertaina’s creative expression began in early childhood where his passion for drawing and bold colours originated. Though Alex considers art to be...

In The Axis of Presences, French artist Sophie Dumont constructs an abstract architecture around a dark vertical line that acts as the backbone of the composition. Geometric forms ga...

This vibrant and dynamic abstract oil painting by American modernist Paul Kauvar Smith (1893–1977) exemplifies his bold use of color and modernist technique. Executed on board, the c...

Elaine Lustig Cohen Untitled, circa 1979 Acrylic on canvas 36 x 36 inches Elaine Lustig Cohen was a New York–based, artist, graphic designer, archivist and rare book dealer. At the...

"City Lines" 40X50x1.75" acrylic on canvas 2018 NYC Signed, dated and titled on the reverse side. "Line series influenced by the digital city"

Artist: Jack Graves III (American, 1988-) Title: "Pelican" Series: Abstract *Signed by Graves lower right. It is also signed, titled, and dated on verso Year: 2024 Medium: Original...

Paravents by Luciana Levinton, Architectural Geometric Abstract Painting, 2025 Untitled. Paravent en blocs. Hommage a Eileen Gray Oil on Canvas 150 x 150 This minimalist abstract wo...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

Inspired by Taoist teachings and meditations, 'Persian Rose' feels alive with its concentration on a single, pure color. Matuszewski creates meditative and harmonious color field pai...

Elaine Lustig Cohen Untitled, circa 1979 Acrylic on canvas 36 x 36 inches Elaine Lustig Cohen was a New York–based, artist, graphic designer, archivist and rare book dealer. At the...

URBAN BLOCKS Size: 48 x 63.5 cm (including frame) Oil on board A striking mid-century abstract cityscape rendered in a restrained muted palette, executed in oil onto board. The pai...

Iris Kufert-Rivo describes her work... "pattern and repetition of forms is a subject I’ve pursued for decades. This new set of paintings called The Structure Series is inspired by t...

Geometric Abstraction, Op Art influence. Oil on canvas by belgium mid-century artist Pierre Mantra, dated 1970s. Mosaic-like, pointillist abstraction. Signed on the back Newly wood ...

The Black Gesture Series is a collection of four original mixed media works on paper by Canadian artist Murray Duncan. Each composition explores the expressive relationship between b...

Super attractive geometric abstraction in a rare to find pastel color palette. Circles is a striking and impactful large-format painting created in the 1960s by Domenick Capobianco. ...

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...

Original portrait painting by the German artist Ljubow Jung. Jung is a professional artist and clothes designer. Imitation of stained glass windows. Stained glass windows are made o...

Artist: Warren Wolf, American (1924 - 2003) Title: Zebuwl 2 Year: 1990 Medium: Oil and Marble Dust on Shaped Masonite, signed, titled and dated verso Size: 34 in. x 31 in. (86.36 cm...

In Melisa’s optical and pulsating compositions, the natural world acts as blue-print while she explores the notion of the sublime through blur and precision. The artist develops an a...

Diamonds. 2024. Linen canvas, oil, modular artwork 4 pcs. - 80x80 cm; total size 160x160 cm Alyona Prokofyeva (1988) From 2016 surname Galaktionova. Alyona graduated Riga art scho...

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...

Cotton sewn on paper

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

Very attractive and large scale 70's geometric abstraction! Not signed Oil on canvas 55 x 68 1/4 inches Provenance: Private collection, NY From the artist's estate of works Black Cen...