Abstract Geometric Art

Wassily Kandinsky - Composition - Original Woodcut Condition: excellent 32 x 24 cm 1959 Published by XXe siècle, San Lazzaro Printed signature (monogram) in the plate Unnumbered as i...

Vincent Donato Roselli (b. 1995) is a self-taught artist from Staten Island, NY. Vincent works with a variety of mediums, favoring distorted brushes to manipulate plaster, beeswax, o...

CONSTELLATION SUITE #6, 2021 Archival Pigment Print on Hahnemühle 100% Cotton Fine Art Paper, Custom framed 45 x 35 cm All prints from an Edition of 9 Series: Constellations All aro...

Artist: Genaro Moreno, Venezuelan (1921 - 1991) Title: Kinetic Energy Year: 1981 Medium: Acrylic on Canvas, signed l.r. Size: 23 x 19 in. (58.42 x 48.26 cm)

Cups "E" - 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...

Cups "B" - 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...

A colorful geometric screenprint by American artist Barbara Lynch Zinkel, signed and numbered in pencil. Date: 1991 Medium: Screenprint, signed, numbered, dated and titled in pencil...

Artist: Kyohei Inukai Title: Fanfare Year: 1978 Medium: Screenprint, Signed and numbered in pencil Edition: AP 30 Size: 22 x 30 inches

Artist: Arthur Boden, American Title: T Series Year: circa 1970 Medium: Six Screenprint, each signed and numbered in pencil Edition: 100 Size: 29 in. x 23 in....

This screenprint was created by Welsh artist Gordon House (1932-2004). House was a designer and painter whose hard-edged abstract works reflected the dramatic tensions of his graphic...

Ochre Ombre Leonid Date: circa 1980 Screenprint, signed and numbered in pencil Edition of 100, AP Image Size: 23 x 23 inches Size: 29 x 29 in. (73.66 x 73.66 cm)

Artist: Leo Bates (1944 - ) Title: Rhythm Series IV Year: 1978 Medium: Screenprint, signed and numbered in pencil Edition: 200 Paper Size: 30 x 22.5 inches

First explored in the early 1990s, the spin technique has become one of Hirst’s most sought-after and instantly recognizable styles, reflecting his interest in process, color, and th...

Title: Geometry Clash IV Medium: Oil on canvas Size: 27 x 31 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This p...

Batik technique on cotton Marko Reeboskic is a Serbian artist born in 1964 who lives and works in Belgrade, Serbia. With an architectural background Marko continues his work in diff...

Artist: Alberto Magnelli, Italian (1888 - 1971) Title: Composition Year: 1960 Medium: Lithograph on Arches, Signed and numbered in pencil Edition: 50 Image Size: 19 x 13 inches ...

Cubist Composition by Armand Rottenberg (French 1903-2000) signed lower corner, circa 1980's oil painting on board, framed Framed 28 x 20.5 inches Stunning original Cubist painting...

Artist: Ray Elman Title: G.S. came as an Artichoke Year: 1979 Medium: Serigraph and Collage, signed and numbered in pencil Edition: 99 Paper Size: 38 in. x 3...

A brilliant blue, Geometric watercolor depicting a scene from Shakespeare by Institute of Design Artist Eugene Dana. Titled, "Ariel (From Shakespeare’s “The Tempest”)". Artwork siz...

A dreamy, pale blue 1994 Abstract Geometric Painting depicting the Tempest, titled "The Tempest Scenes from the Mask: The Naiads" by Institute of Design artist Eugene Dana. Artwor...

A large & bright Abstract Geometric painting titled, "Night Fete Champetre" by Institute of Design artist Eugene Dana. Artwork size: 37" x 30". Framed size: 38" x 31". Provenance...

Artist: Nicholas Krushenick Title: Untitled (Orange One Variant) Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 200, AP 35 Paper Size: 36 x 30 in. (91.44 x 7...

Untitled Abstraction Pen and ink on paper, 1932 Signed and dated in ink lower center Condition: Excellent Sheet/Image size: 10 3/8 x 6 1/4 inches Frame size: 16 1/2 x 12 1/2" Provena...

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...

Tree of life. 1982, Paper, linocut, print size 50x56 cm; total 60x65 cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publications. The ...

Acrylic on Cardboard on Wood Panel. Orange Mustard blue Born in Tallahasee Fl, William started his artistic career as a color consultant for his family's Design and Painting company that took on constant projects of custom painted interiors and decorating. This work of 20 yrs lead him to his fascination with textiles and paint, along with custom furniture. After creating and selling dozens of unique pieces of furniture, here began his transition from wall, to wood on furniture, to canvas. Painting on canvas was the culmination of his creative outlet. William feels that his lack of formal training in Fine Art has afforded him a freedom to paint what he envisions and feels, rather than conform to specific style or genre that he feels is limiting Inspired by hard edge abstraction and color field art such as Kenneth Noland, Joseph Albers, Gene Davis, Frank Stella, Anne Truitt, Imi knobel. William is showing his work locally and nationally and being collected in Palm Beach Island, Washington and New York. William is also represented with DTR Modern Galleries on Worth Ave Palm Beach, Fl and New York, and Gary...

A minimalist dialogue between light, shadow, and human perseverance. In The Climb, Eduardo Rezende captures figures ascending a vast sand dune, their silhouettes etched against the f...

Artist: Remo Farruggio, Italian/American (1904 - 1981) Title: Juxtaposition Year: Circa 1980 Medium: Lithograph, signed and numbered in pencil Edition: 300, AP 35 Image Size: 2...

Cups "A" - 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...

« Ref 340 » is the title of a sculpture in coloured resin by Dubreuille. Nicolas Dubreuille is a multi-faceted abstract artist who likes to multipl...

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...

Dynamics For Osculating Circle is a complex integration of mathematical elements through collinear intersects completing a geometric picture with vivid colors.

Diagonal lines in pink, pink, orange, and black make up the composition of this original drawing by Yaacov Agam. Signed above the printed text ’Agam’. Title: Beyond the Visible Medi...

Artist: Jasha Green, American (1923 - 2006) Title: Untitled 30 Year: circa 1976 Medium: Lithograph, signed and numbered in pencil Edition: 200 Size: 29 x 35 in. (73.66 x 88.9 cm)

Jean-Emile Laboureur (1877-1943), La Rentree au Seminaire, 1897, woodcut, signed in ink lower right and inscribed “tire a 15 ex.” [also with monogram in the plate]. Reference: Laboureur 566, only state. In good condition, with some staining toward margin edge not affecting image, tack-holes at corners, 4 3/8 x 4 3/8, the sheet 9 5/8 x 8 1/2 inches. A fine impression, printed on a grey/green wove paper. A very early woodcut; the first time that Laboureur used a monogram within the plate. This woodcut was made shortly after Laboureur learned printmaking from the famed printmaker – and woodcut specialist – Auguste Lepere; and the composition, with its ordering of a mass of marchers, appears to be influenced by Felix Valloton...

Artist: Georg Karl Pfahler (1926-2002) Title: Untitled Year: 1993 Edition: 13/100, plus proofs Medium: Silkscreen on Arches paper Size: 27.5 x 27.5 inches Condition: Good Inscription...

Jeremy Gilbert-Rolfe, British (1945) Date: 1983 Screenprint, signed and numbered in pencil Edition of 144 Image Size: 34 x 29 inches Size: 38.5 x 33 in. (97.79 x 83.82 cm)

Stone and metal,usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is a major focus. On the most basic level the work is ...

Stone and metal,usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is a major focus. On the most basic level the work is ...

Non Dual Form #31, a one-of-a-kind, small ceramic abstract sculpture, in a sleek, rich metallic glaze is an abstract sculpture by Paige Stewart. The form includes a portal/opening as...

Richard Anuszkiewicz (American, 1930–2020) Six Squares, 1969 Medium: Screenprint on card Dimensions: 64 x 94 cm (25 x 37 in) Edition of 200: Hand-signed and numbered in pencil

Artist: Gene Davis (1920-1985) Title: Yellow Jack Year: 1979 Medium: Silkscreen on Arches paper Edition: 241/250, plus proofs Size: 22.5 x 25 inches Condition: Excellent Inscription:...

Bodies at Rest #5, is a one-of-a-kind, ceramic abstract figurative sculpture by Paige Stewart in a creamy neutral glaze is an abstracted figural form that captures how the laws of ph...

Esta obra ejemplifica una armoniosa combinación de abstracción geométrica e interacción de texturas. Dominada por una audaz composición vertical, la pieza presenta una impactante yux...

Maggie LaPorte Banks. Artists diaries [2022] original Silkscreen, collage, carborundum & acrylic on canvas Image size: H:70 cm x W:91 cm Complete Size of Unframed Work: H:70 cm x ...

David Morris Memphis Underground Digital Painting on Archival Paper Year: 2023 Size: 24x24in Edition: 15 Signed, numbered and dated by hand on label to be attached verso COA provided...

Barbara Kohl-Spiro, American (1941 - ) - Pinwheel and Pride, Year: 1980, Medium: Screenprint on Arches, signed, titled and numbered in pencil, Edition: 94/100, Image Size: 29 x 2...

Barbara Kohl-Spiro, American (1941 - ) - Sweet Soul, Year: 1980, Medium: Screenprint on Arches, signed, titled and numbered in pencil, Edition: 94/100, Image Size: 29 x 21 inches...

Little sculpture by the south france sculptor Edmond Vernassa. Signed. Né à Nice, le 3 septembre 1926, Vernassa dessine et sculpte dès son plus jeune âge. Il obtient un CAP d’électr...

2020 Screenprint in colors, on Rives BFK paper, with full margins Sheet: 32 7/10 x 40 in. (83.1 x 101.6 cm) Edition of 55 Signed, dated, and numbered in pencil, lower margin Unframed...

2020 Screenprint in colors, on Rives BFK paper, with full margins Sheet: 32 7/10 x 40 in. (83.1 x 101.6 cm) Edition of 55 Signed, dated, and numbered in pencil, lower margin Unframed...

2020 Screenprint in colors, on Rives BFK paper, with full margins Sheet: 32 7/10 x 40 in. (83.1 x 101.6 cm) Edition of 55 Signed, dated, and numbered in pencil, lower margin Unframed...

Artist: Pierre Clerk, Canadian (1928 - ) Title: Morocco Series #8 Year: 1980 Medium: Screenprint on Arches, signed and numbered in pencil Edition: AP 2/45 Image Size: 21 x 35 inches ...

Stone and metal,usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is a major focus. On the most basic level the work is ...

Stone and metal,usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is a major focus. On the most basic level the work is ...

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...

Stone and metal,usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is a major focus. On the most basic level the work is ...

Stone and metal,usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is a major focus. On the most basic level the work is ...

Stone and metal,usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is a major focus. On the most basic level the work is ...

Stone and metal,usually granite or slate and found object steel are central in my sculpture. The interaction of these materials is a major focus. On the most basic level the work is ...