Abstract Geometric Paintings

Grillas by Martín Pelenur, Geometric Abstract Painting with Blue, Green, 2022 Acrylic on Canvas Martín Pelenur explores balance through a carefully orchestrated arrangement of geome...

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...

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...

Batik technique on cotton

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...

At the heart of each of Frank’s paintings is the Japanese concept of Ma, which is the space or pause between events, moments, forms, and thoughts. It can be felt, for example, at the...

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 ...

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

Reality Artist signed lower right corner and back, canvas 43"x95"x1.5 Maximo Caminero Born in the Dominican Republic in 1962. Artist, self-taught formation. He made his first...

James Minden 51905 Holographic style painting- incised plastic and acrylic on wood panel 24 x 24 inches 2019 To get a sense of the holographic effect look at the video on that vime...

Richard Andres (American, 1927-2013) Pieces Collage, c. 1965 collage on paper 14 x 18 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

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, ...

This original 1990s fine art monotype by Denver artist Wilma Fiori is a bold and dynamic example of late 20th-century American printmaking. Rendered in expressive layers of green, bl...

A native of New Orleans, Taney Roniger has been living in New York since the 1990s. After graduating with a BFA from New York’s School of Visual Arts, she received her MFA from Yale ...

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...

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...

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...

"Malevich On My Mind" is a geometric abstraction in yellow and white gold leaf and oil on wood panel, part of a series of small 3-dimensional constructions and 2-dimensional painting...

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...

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...

Artist: Clarence Holbrook Carter, American (1904 - 1998) Title: Transection No. 7 Year: 1970 Medium: Acrylic on Canvas, signed verso Size: 77 in. x 75.5 in. (195.58 cm x 191.77 c...

Brandon Neher is a California artist whose original paintings embody a profound exploration of space, structure, and balance, infused with a touch of modern minimalism. Drawing inspi...

Art and Space, Ron Agam, Geometric Op Art Painting Acrylic on Wood, 2022 Acrylic Paint 18 x 18 inch Art and Space is a vibrant geometric painting by Ron Agam that exemplifies the ar...

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...

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...

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...

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...

Hadley Radt’s abstract geometric paintings explore the connection between systems in our environment and how they relate to her own impulse to construct order. The structures she dev...

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...

A vivid and conceptually rich example of mid-century abstraction, this watercolor by Hildegarde Haas transforms music into color through the artist’s extraordinary ability to experie...

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 ...

Christopher Barrow has studied the smallest details of life in urban society and translated these details into engaging paintings. His scenes are familiar to us but also ever so slig...

Transcromático by Juan Carlos Amador showcases abstract canvases that use thick, layered paint to evoke the fluidity and light of water sports, rather than literal representation. By...

Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ability to perceive? ...

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...

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...

This geometric wall sculpture features green hues. Atlanta-based artist Mitchell Biggio’s “Fault” is a series of complex three-dimensional wall sculptures that navigate the expansiv...

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...

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...

Abstract Composition of A Girl Lying On A Deck Chair by Jacqueline VERDET (French, 1931-2023) signed oil painting on canvas, in wooden frame with the bottom part of frame missing siz...

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

Robert W. Petrick "Labyrinth" Construction series, 2022 Acrylic on canvas 56x56x1.5” NYC, 2nd street studio June 16, 2022One can easily become lost in Robert Petrick’s "untitled"’...

An intriguing and Gorgeous work by Julio Sendino entitled “Lateral Movement,” created using the water encaustic technique. An abstract and geometric composition that evokes balance,...

Michael Kessler’s work explores the continuum between gesture and geometry. Each work consists of as many as 50 micro-thin layers of translucent and transparent acrylic. Biomorphic tendrils branch to and fro, while arcs of line and color slip over and under matrices, balancing nature’s sinuous curves with the mindfulness of structure. He likens the gestural freedom in his works to a kind of painterly “tai chi” – a...

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...

Lively Geometric Abstraction - Colorful Tiles on White Background This bold painting by an unknown artist features areas of tiled color with twisting, patterned line weaving through...

"Ritmos Abstratos" invites us to explore the visual universe of the artist Juan Carlos Amador, who, through his unique perspective, translates the pulsations of space and the invisi...

PGB 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...

Bloom, No. 3, 2026 acrylic and marble dust on collaged repurposed canvas on panel 29 in. diameter Colorful pinwheel tondo painting in oil on antique linen Deb Lawrence brings togeth...

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...

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...

A contemporary painting by NYC's Gene Johnson. A balance of values, texture, line and form. Unframed. Signed "Gene Johnson" on verso. Gene Johnson has been painting and exhibiting ...

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

A contemporary acrylic painting by Gene Johnson (NYC). Unframed. Signed on verso. Gene Johnson has been painting and exhibiting since the mid-80s in New York City. He has participa...

Dānsa by Rubeena Ratcliffe is a bold abstract painting layered with geometric forms, float-framed in light wood. The overlapping shapes and subtle hand-drawn line textures create a s...

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 contemporary mixed media graphic composition is by Mafu Jiang. Mafu Jiang’s striking contemporary artwork has been exhibited internationally and is rooted in his Chinese herita...

This black and white abstract acrylic painting is inspired by the mid-century masters. Framed in a vintage gold frame, wired and ready to hang, 9.5 in. wide x 15 in. high

Post Dogmatist Painting on Panel, signed verso Cecil Touchon Born 1956 Austin, Texas is a contemporary American collage artist, painter, published poet and theorist living in Pagosa...