Nancy Jadatz Abstract Paintings

Nell Blaine Red and Black, 1945 Signed and dated on canvas on reverse, signed on reverse of frame Oil on canvas 23 x 20 inches Provenance Estate of the Artist Tibor de Nagy Gallery...

Untitled Mixed media on paper, 1979 Signed and dated ‘79 lower right (see photo) Sheet size: 31 1/2 x 48" Frame: 34 1/4 x 50 1/4" Provenance: Members Gallery, Albright-Knox Art Galle...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

Ivan Markovic transports viewers into a world of technicolor with this collection of works inspired by Bernini's angels. Markovic's life in Rome brought him to walk across the Ponte ...

Geometric abstract composition, influenced by Post-Cubism, with an expressionist touch in the colors. The palette is vivid and saturated. The forms, outlined in black, interlock with...

This powerful abstract composition by Micheke Destarac explores tension, movement, and balance through bold gestures and layered textures. Thick impasto strokes dominate the surface,...

A textural oil painting by Darius Yektai (b. 1973 / Southampton, NY) made up of a motley of flowers, from Roses, to Hydrangeas, to Babys Breath and more. Affixed to an oil painting w...

Slider (Abstract painting) Oil on 300gsm paper — Unframed. This work is exclusive to IdeelArt. Karl Bielik is a contemporary British artist known for his abstract paintings characte...

“Jule” by Ash Oaksmith presents a soft, atmospheric abstraction that feels both ethereal and immersive, with billowing, cloud-like forms unfolding across the canvas. The layered brus...

Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north. An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made. Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent. Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception. Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated. The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...

Julie Spodek, "Untitled: Abstract in Peach, Blue, Grey & Orange, Abstract Oil Painting on Canvas (Signed Julie Spodek 85' Rear Canvas), 14 x 15, Late ...

An abstract oil painting, loosely painted en plein air on a beach in the Hamptons. The painting captures a curling wave, just about to crash on the shore, the spray from the top of the wave watching in the wind off the ocean. The painting was done like a sketch done by impressionist artists back in the day, but on a much larger scale. Color notes jotted down urgently to capture the moment before it disperses like sea spray in the breeze. Yektai paints in a thick sculptural fashion...