Abstract Geometric Art

The series "Stages" explores the marriage of chance-embrassing gestures with exacting grid geometry. Built upon a multilayered convergence of airbrush painting and hard-edge techniq...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

Bavarian-born and raised Eva Mueller, made New York her home in 1990.Her previous studies and experience in graphic design and visual fine art, evolved into her career in photography...

Intricate, ethereal and highly textured, the abstract compositions of Japanese mosaic artist Toyoharu Kii reflect a sophisticated approach to the technica...

"Cutting Edge" is an installation piece by Dustin Hedrick comprised of paint and artist's tape. The red artist's tape creates a geometric, abstract portrait on the painted blue walls...

Brown, Orange, Blue, Pink, Green, Yellow, Red Mary was born in Ohio and has lived in Memphis, Tennessee since the mid-1990s. Following studies in graphic design and painting, she be...

Brown, Orange, Blue, Pink, Green, Yellow, Red Mary was born in Ohio and has lived in Memphis, Tennessee since the mid-1990s. Following studies in graphic design and painting, she be...

Brown, Orange, Blue, Pink, Green, Yellow, Red Mary was born in Ohio and has lived in Memphis, Tennessee since the mid-1990s. Following studies in graphic design and painting, she be...

Brown, Orange, Blue, Pink, Green, Yellow, Red Mary was born in Ohio and has lived in Memphis, Tennessee since the mid-1990s. Following studies in graphic design and painting, she be...

Brown, Orange, Blue, Pink, Green, Yellow, Red Mary was born in Ohio and has lived in Memphis, Tennessee since the mid-1990s. Following studies in graphic design and painting, she be...

Brown, Orange, Blue, Pink, Green, Yellow, Red Mary was born in Ohio and has lived in Memphis, Tennessee since the mid-1990s. Following studies in graphic design and painting, she be...

Brown, Orange, Blue, Pink, Green, Yellow, Red Mary was born in Ohio and has lived in Memphis, Tennessee since the mid-1990s. Following studies in graphic design and painting, she be...

A bold 1960s abstract geometric composition by Edward Marecak titled Witches Entrance, depicting stylized figures emerging through a structured field of color and form. The painting ...

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

Alfred Manessier Construction of the Bridge in Red Stone lithograph after a painting Printed in Mourlot workshop Printed signature in the plate On Arches vellum 50 x 65 cm (c. 20 x ...

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...

Sergio Nates Utopia #6, 2014 Acrylic on canvas 21.75 x 21.75 inches This one-of-a-kind acrylic painting on canvas is stretched across wooden stretcher bars.

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 artwork is a striking example of geometric abstract art, defined by its bold use of color and form. Dominating the composition is a large expanse of vibrant red at the top, whic...

Cups "D" - is an one-of-a-kind, hand-crafted, abstract wall sculpture of fine brass wire, employed gesturally, like pencil lines, covered with a soft Japanese paper, creating translu...

"Rift Valley, Sonde 2" is a textural and elemental abstract painting on canvas. It explores the hybridization of chance-derived color-fields with textural topography. Various techniq...

Untitled Steel Mesh I 2012, Jin-Sook So, steel mesh, painted, electroplated silver and gold leaf, 31.5" x 52.75" x 6.25", 2012. This abstract geometric wall sculpture was done by fi...

Cut-Up Paper II.3 (Abstract Painting) Acrylic on paper. Unframed. Pedersen works with acrylic paint. When painting a composition, she tends toward a limited color palette, often r...

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...

Abstract Universe Composition In Red Artist signed verso, oil on canvas 60hx48w JARO was born in 1934 Prague the Czech Republic. Since his childhood, he enjoyed his art class at scho...

Excerpts from William Peterson, Tom Waldron, 1985 They cut through space like beautiful and efficient tools. No bases or pedestals are required. They sit ...

Oscar Reutersvärd (1915-2002) Fifteen European Impossible Figures, Italy, 39,5x30 cm

Sonia Delaunay - Composition Original Lithograph 1969 Dimensions: 32 x 25 cm Revue XXe Siècle Cahiers d'art published under the direction of G. di San Lazzaro. Sonia Delaunay was known for her vivid use of color and her bold, abstract patterns, breaking down traditional distinctions between the fine and applied arts as an artist, designer and printmaker. Born Sarah Stern on November 14, 1885 in Gradizhsk, Ukraine, she was adopted in 1890 by her maternal uncle, Henri Terk, a lawyer in St. Petersburg, where she grew up, exposed to music and art, and learning several foreign languages. In 1903, she moved to Germany to study drawing with Ludwig Schmidt-Reutler (1863–1909) at the Karlsruhe academy of fine arts; Arnold Schoenberg (1874–1951), composer-to-be, was among her classmates there. In 1905, she traveled to Paris where she attended art classes at the Académie de la Palette, learned printmaking from Rudolf Grossman (1889–1941), and met Amédée Ozenfant (1886–1966), André Dunoyer de Segonzac (1884–1974), and Jean-Louis Boussingault (1883–1943). Sonia spent much of her time at exhibitions and galleries in Paris, which showed works by Paul Cézanne, Vincent Van Gogh, Pierre Bonnard, and Edouard Vuillard, as well as Les Fauves, Henri Matisse and André Derain. She did, however, maintain contact with Germany, exhibiting at the Galerie Der Sturm, Berlin, in 1913, 1920 and 1921. During her first year in Paris, Sonia met the German collector and art-dealer, Wilhelm Uhde (1874–1947), whom she married on December 5, 1908, and whose Montparnasse gallery, the Galerie Notre-Dame des Champs, showed her first solo exhibition. Through Uhde, Sonia encountered many painters, including Pablo Picasso, Georges Braque, Maurice de Vlaminck, and Robert Delaunay (1885–1941). In 1910, Sonia divorced Uhde by mutual agreement, married Delaunay that same year, and gave birth to their son, Charles, in January 1911. Together Sonia and Robert Delaunay pursued the study of color, influenced by theories of Michel-Eugène Chevreul (1786–1889). Sonia’s interest in simultaneous contrast, as evidenced in her early collages, book bindings, small painted boxes, cushions, waistcoats and lampshades, led to one of her first large-scale works, the painting of the Bal Bullier (1912–1913), a popular Parisian dance-hall. Sonia’s first “simultaneous dresses,” a mix of squares and triangles of taffeta, tulle, flannelette, moiré, and corded silk, date from this period. Friendship with the poet Blaise Cendrars...

Signed lower right. This Mid Century Modern artist, Malcom Edgar Case (1924-1984), is known for abstract figurative painting and clothing design. Th...

Louis Marcoussis (1883-1941), Un Reve, etching, 1930, signed in pencil lower right and inscribed “2nd etat 1/2” lower left. Plate 1 of the portfolio Aurelia. Reference: Milet 55II, second state (of 4), before the edition (of 153 in the fourth state). In good condition, on a wove paper with full margins (a small area of discoloration below the border lower left, remains of prior glue right margin edge), 7 1/4 x 5 3/8, the sheet 15 5/8 x 9 3/8 inches, archival matting. A fine impression of a rare proof, before the edition. This is one of the two proofs of the second state. After this state the plate was reduced in a third state (from 183 to 174 mm), and then steel faced for the edition. Provenance: Libreria Prandi Reggio (blindstamp lower right corner) Jean Cassou and Pierre Courthion asked Marcoussis to illustrate Aurelia, a novel by Gerard de Merval. This was the first album of their collection “Le Blanc et Le Noir,” edition chez Fourcade. Marcoussis was familiar with this novel, in which imagination and reality intermingle. In it de Merval wrote: “La Reve est une seconde vie.” (The Dream is a parallel life.) Marcoussis wrote of the print: “Il ressemblait a l’Ange de la Melancholie d’Albrecht Durer.” (It recalls the angel in Durer’s Melancholia...

Artist: Pablo Picasso (posthumously) Title: Peintre et Modele en Robe Tricotee Medium: Etching Portfolio: Series 156 Date: 1978 Edition: 1/50 Stamped signature Frame Size: 16 7/8" x ...

POWER BOOTHE known internationally for his ground breaking minimalist abstraction. Works in the collection of the Whitney Museum, Wadsworth Atheneum, Guggenheim Museum and others. ...

"Rift Valley, Sonde 2" is a textural and elemental abstract painting on canvas. It explores the hybridization of chance-derived color-fields with textural topography. Various techniq...

Pagter’s minimalism is emblematic of the shared sensibilities of Scandinavian and Japanese artists, popularly termed 'Japandi'. Into Red is one in a three part series. “In the refin...

Sol LeWitt (1928-2007) is an important contributor to the 20th century's most cerebral "isms" notably minimalism and conceptual art. Many of his works were created from elaborate a...

Günter Fruhtrunk (German, 1923-1982) Seh-Übung (from Dschuang Dsi), 1967 Medium: Screenprint on card Dimensions: 38 x 33 cm Edition of 40: This is an unsigned print outside the editi...

Midi - Plate 3 from the 12 plate Portfolio, 1959 Published by Denise Rene, Paris Lithograph in colors on heavy paper 26 x 20 inches Signed, dated and numbered in ink, edition of 150 ...

Includes a Certificate of Authenticity

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...

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...

Anthony Falcetta fleetfoot, 2025 acrylic, spray paint & gypsum compound on canvas 40 x 30 in. (fal017)

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...

"Beacon" Abstract Geometric Screen Print, 7/30 by Harvey Daniels Bold and bright limited edition abstract silkscreen print with fun colors and bold geometric shapes arranged in a liv...

This original abstract fine art monotype by renowned Denver artist Wilma Fiori is a compelling example from her celebrated Circle Series. Rendered in nuanced shades of blue, gray, an...

Includes a Certificate of Authenticity

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...

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...

The wall sculpture Jupiter came about from the Vogue Magazine Virgo horoscope in September 1991, my birthday month. It stated that Jupiter was in my sign and all my wishes would come...

Simon Samsonian (1912 - 2003) Colorful Geometric Abstraction, 1981 Oil on paper 16 x 22 inches Signed and dated lower right Provenance: Estate of the artist This survivor of the Armenian genocide wound up in a Cairo orphanage in 1927. He rose to fame as one of Egypt’s great modernists, but after moving to Long Island late in life he withdrew into anonymity. Now his compelling story is being told. Art historians are finally beginning to realize that the power of abstraction in its early years was a zeitgeist not limited to the major European centers of the avant-garde — Paris, Munich, and Moscow — but one that quickly rippled to major cities throughout the world. Within a few decades that original shock of a new vision had inspired thousands of artists from different cultures — particularly those the Middle East — whose translations were not slavish imitations of works by seminal figures like Picasso, Braque, Malevich, and Kandinsky but creative variants colored by their respective cultures. This essay focuses on an extraordinary Armenian artist, his harrowing survival of the genocide, his rise to fame in Cairo, and his creation of a unique style of abstraction. Art historians have typically formed a chorus that teaches the history of abstraction like this: Just before and during the World War I era, several avant-garde artists emerged to create shockingly different new forms by which artists could express themselves. In Paris, Picasso and Braque broke out with cubism, quickly followed by Mondrian. In Moscow, Malevich created Suprematism, the ultimate hard-edge geometric abstraction. And in Munich, Kandinsky emerged as the father of Abstract Expressionism. Within these few short years a zeitgeist was sensed throughout the art world. American pioneers, too — particularly Stanton Macdonald-Wright and Morgan Russell — felt this explosive freedom of expression. When Europe was recovering after World War I it became clear that Paris would retain its title as capitol of the art world, lasting through the Roaring Twenties and even through the Great Depression. But the end of World War II changed everything. A parallel war had been won by a group of irascible young Abstract Expressionists in New York — led by Pollock, Rothko, DeKooning, and Kline. No sooner had Paris been liberated from the Germans than Picasso, Matisse, Breton, and Duchamp surrendered to the Americans. From that point on New York would be the epicenter of the art world. But a lens that focuses myopically on the war between the avant-garde of Paris and New York misses the wider narrative of multiple aesthetic modernities that developed in the several decades following World War I. For Armenian artists the matter is even more complex owing to the genocide of 1915 where more than 1.5 million people — seventy-five percent of Armenians in the Ottoman Empire — were massacred. Those not shot on the spot were sent on death marches through the Mesopotamian desert without food or water. Frequently, the marchers were stripped and forced to walk naked under the scorching sun until they dropped dead. As a child Samsonian witnessed the murder of his parents and most of the members of his family. Soon thereafter, his older sister, Anahid, quickly shepherded him into a line of children being rescued by Greek nuns. But they became separated and he lost her, too. He was sent to a Greek orphanage in Smyrna (now Izmir), on Turkey’s west coast. Because he only knew his first name, the orphanage gave him a last name based on the place where they found him — Samsun — a major port on Turkey’s north coast on the Black Sea. His birth date was unknown, too. According to Samsonian’s vague recollections he assumed he was about three or four years old at the onset of the genocide, which would place his birth year in 1911 or 1912. In 1922, when Samsonian was about 10, the Turks ended their war with the Greeks by putting Smyrna to the torch in what has been called the “Catastrophe of Smyrna.” Once again, the child was on the run, escaping the fire and slaughter. He found temporary refuge in Constantinople, but within a year that major port would fall to the Turks, too, and become renamed as Istanbul. This time, Samsonian was whisked away to an orphanage in Greece founded by the American charity, Near East Relief — which is credited with saving so many Armenian orphans that the American historian Howard M. Sachar said it “quite literally kept an entire nation alive. Any understanding of Samsonian’s approach to modernism requires careful consideration of the impact of his early years because his art is inseparable from the anguish he experienced. In 1927, when he was a teenager, he was transferred to Cairo, Egypt, then a cosmopolitan city hosting a sizable portion of the Armenian diaspora. There he lived with thirty-two other children on the top floor of the Kalousdian Armenian School. Upon graduating in 1932 he won a scholarship to attend the Leonardo da Vinci Art Institute — an Italian art school in Cairo — where he won first prize in final examinations among one hundred students. He found work with an Armenian lithographic printer and he returned to the Kalousdian Armenian School to teach drawing. In 1939 he married one of his students, Lucy Guendimian. The Cairo in which Samsonian matured as an artist was home to many prominent art collectors after World War I. In this receptive environment Samsonian exhibited widely and won many awards. Beginning in 1937 and for the next thirty years he exhibited annually at the prestigious Le Salon du Caire hosted by the Société les Amis de l’Art (founded in 1921). After World War II he hit his stride as a modernist in Cairo, counting among his peers other artists of the Armenian diaspora such as Onnig Avedissian, Achod Zorian, Gregoire Meguerdichian, Hagop Hagopian...

Laberinto Serpentino is a striking and enigmatic work that invites the viewer into a dreamlike maze of fluid motion and layered symbolism. Rich in texture and depth, this piece evoke...

Piet MONDRIAN (after) Composition II in Red, Blue and Yellow Lithograph (8 colors) Printed signature in the plate Justified HC (Hors commerce) Blind stamp of the editor in the marg...

The colorful paintings of Jan Pieter Fokkens transport us to distant worlds beyond our comprehension. Within his seemingly infinite networks of lines, dots, and crosses, he decodes the recognizable to create something unfamiliar. Each work begins with a colorized photo captured by a deep-space...

Yvaral (Jean-Pierre Vasarely) Lithograph - 1978 Signed by the artist in pencil Numbered in pencil by the artist XXII/C Annotated in pencil 77 x 77 cms 890 euros

George Rickey South Bend 1907 - 2002 Saint Paul Untitled Lithograph Signed in pencil lower left Limited edition 88/150 Sheet size: approx. 37 x 27.5 cm

Tetsuo Mizu (1944) Landscape Executed in 1987 Oil on canvas 80.3 x 100 cm (39 3/8 x 31 1/2 in) Dated and Signed “1987 MIZU” (lower left) Signed, dated, an...

Unframed size: 40 × 120 cm (15.7 × 47.2 in) Framed size: 47 × 127 cm (18.5 × 50 in) Floating frame: available in natural wood or black Sophie Dumont is a French contemporary painter...

Sonia Delaunay Full-page, colour pochoir after costume designs by Sonia Delaunay Edition 331/500 copies on Velin Aussedat Dimensions: 28.5 x 19.5 cm. From 27 Living Paintings. [Milano, Edizioni del Naviglio, 1969]. Jacques Damase. Robes Poèmes, Introduction. Text by Guillaume Apollinaire and Blaise Cendrars. Sonia Delaunay was known for her vivid use of color and her bold, abstract patterns, breaking down traditional distinctions between the fine and applied arts as an artist, designer and printmaker. Born Sarah Stern on November 14, 1885 in Gradizhsk, Ukraine, she was adopted in 1890 by her maternal uncle, Henri Terk, a lawyer in St. Petersburg, where she grew up, exposed to music and art, and learning several foreign languages. In 1903, she moved to Germany to study drawing with Ludwig Schmidt-Reutler (1863–1909) at the Karlsruhe academy of fine arts; Arnold Schoenberg (1874–1951), composer-to-be, was among her classmates there. In 1905, she traveled to Paris where she attended art classes at the Académie de la Palette, learned printmaking from Rudolf Grossman (1889–1941), and met Amédée Ozenfant (1886–1966), André Dunoyer de Segonzac (1884–1974), and Jean-Louis Boussingault (1883–1943). Sonia spent much of her time at exhibitions and galleries in Paris, which showed works by Paul Cézanne, Vincent Van Gogh, Pierre Bonnard, and Edouard Vuillard, as well as Les Fauves, Henri Matisse and André Derain. She did, however, maintain contact with Germany, exhibiting at the Galerie Der Sturm, Berlin, in 1913, 1920 and 1921. During her first year in Paris, Sonia met the German collector and art-dealer, Wilhelm Uhde (1874–1947), whom she married on December 5, 1908, and whose Montparnasse gallery, the Galerie Notre-Dame des Champs, showed her first solo exhibition. Through Uhde, Sonia encountered many painters, including Pablo Picasso, Georges Braque, Maurice de Vlaminck, and Robert Delaunay (1885–1941). In 1910, Sonia divorced Uhde by mutual agreement, married Delaunay that same year, and gave birth to their son, Charles, in January 1911. Together Sonia and Robert Delaunay pursued the study of color, influenced by theories of Michel-Eugène Chevreul (1786–1889). Sonia’s interest in simultaneous contrast, as evidenced in her early collages, book bindings, small painted boxes...

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...

Sarah Morris (American, born 1967) Total Lunar Eclipse, 2012 Medium: Screenprint in colors Dimensions: 50.2 × 50.2 cm (19 3/4 × 19 3/4 in) Edition of 108: Hand-signed and numbered Co...

Bodies At Rest #29 by Paige Stewart is a one-of-a-kind ceramic sculpture that presents a tall, pared-down human form shaped by gravity and internal force. The slick bronze metallic g...