Belgium - Abstract Paintings

Indigo Vibration (Abstract Painting) Cold wax and oil stick on canvas paper - Unframed The work is matted, image size is 40 x 32 cm / 15.7 x 12.2 in Within the minimalist construc...

Montauk (Abstract Painting) Beeswax, resin and pigment on canvas mounted on panel. Unframed. This work is from a series of formal trifold compositions of quiet horizontal abstracti...

Beeswax, resin and pigment on archival paper mounted on archival board matted - Unframed. This work is from a series of works on paper exhibited in the solo show: “The Temperature o...

Celedon Mist (Abstract Painting) Beeswax, resin and pigment on archival paper mounted on archival board matted - Unframed. Image size: 20 cm x 31 cm, 7.75” x 12” mounted on archiva...

Reflective Vibration (Abstract Painting) Cold wax and oil stick on canvas paper - Unframed The work is matted, image size is 40 x 32 cm / 15.7 x 12.2 in Within the minimalist cons...

Nagano (Abstract Painting) Beeswax, resin and pigment on canvas mounted on panel. Unframed. This work is from a series of formal trifold compositions of quiet horizontal abstractio...

Linear Fervor (Abstract Painting) Cold wax and oil stick on canvas paper - Unframed The work is matted, image size is 40 x 32 cm / 15.7 x 12.2 in Within the minimalist construct,...

Prussian Blue (Abstract painting) Beeswax, resin and pigment on archival paper mounted on archival board matted - Unframed. This work is from a series ...

Dunewood (Abstract Painting) Beeswax, resin and pigment on canvas mounted on panel. Unframed. This work is from a series of formal trifold compositions of quiet horizontal abstrac...

Beeswax, resin and pigment on canvas mounted on panel. Unframed. This work is from a series of formal trifold compositions of quiet horizontal abstraction, based in the Venetian tra...

La Pré de Nuit (Abstract painting) Beeswax, resin and pigment on panel - Unframed. The images Yntema creates are the result of accumulated, semi-translucent layers of color. The b...

Beeswax, resin and pigment on archival paper mounted on archival board matted - Unframed. Image size: 20 cm x 31 cm, 7.75” x 12” mounted on archival board 41 cm x 51 cm, 16” x 20” m...

Beeswax, resin and pigment on archival paper mounted on archival board matted - Unframed. This work is from a series of works on paper exhibited in the solo show: “The Temperature o...

Beeswax, resin and pigment on canvas mounted on panel. Unframed. This work is from a series of formal trifold compositions of quiet horizontal abstraction, based in the Venetian tra...

Armando Mesías (Grège Gallery) is a contemporary artist whose large-scale abstract compositions blend painting, oxidation processes, and reclaimed materials. His work explores themes...

XXXL painting called 'Looking for the ultimate pleasure'

Moritz Berg is a young german artist born in 1994. He graduated in architecture and urban planning from the university of Stuttgart. He is currently based in Stuttgart, where he crea...

Original painting beach with parasols BLUE DREAM Viviane. By Carole Grandgirard, title and signature on the back of the canvas. Oil on canvas. Contemporary, France 2022. Carole G...

Abstract acrylic on wood painting in royal blue, called Number 46

Wainscott (Abstract Painting) Beeswax resin, pigment and oil paint on panel — Unframed. This work is from a series of formal trifold compositions of quiet horizontal abstraction, ba...

A structural design with special attention to color and balance original and unique This work will ship well-protected wooden box, the shipment cost is...

Very colourful and modern painting. Acrylic on wood.

La Pré de Nuit (Abstract painting) Beeswax, resin and pigment on panel - Unframed. The images Yntema creates are the result of accumulated, semi-translucent layers of color. The b...

Wimereux (Abstract Painting) Beeswax, resin and pigment on canvas mounted on panel. Unframed. This work continues the exploration of colour as both subject and object. In a formal ...

The Whisper Of Solitude (Abstract Painting) Beeswax, resin and pigment on canvas mounted on panels. Unframed. This work is from a series of formal compositions of quiet horizontal ...

Reflective Vibration (Abstract Painting) Cold wax and oil stick on canvas paper - Unframed The work is matted, image size is 40 x 32 cm / 15.7 x 12.2 in Within the minimalist cons...

Linear Fervor (Abstract Painting) Cold wax and oil stick on canvas paper - Unframed The work is matted, image size is 40 x 32 cm / 15.7 x 12.2 in Within the minimalist construct,...

Chartreuse Over Cerelean (Abstract painting) Beeswax, resin and pigment on archival paper mounted on archival board matted - Unframed. This work is from a series of works on paper...

Chuchotis (Abstract painting) Beeswax, resin and pigment on canvas mounted on panels. Unframed. This work is from a series of formal trifold compositions of quiet horizontal abstra...

Linear Still (Abstract Painting) Cold wax and oil stick on canvas paper - Unframed The work is matted, image size is 40 x 32 cm / 15.7 x 12.2 in Within the minimalist construct, t...

Linear Hush (Abstract Painting) Cold wax and oil stick on canvas paper - Unframed The work is matted, image size is 40 x 32 cm / 15.7 x 12.2 in Within the minimalist construct, th...

Linear Motility (Abstract Painting) Cold wax and oil stick on canvas paper - Unframed The work is matted, image size is 40 x 32 cm / 15.7 x 12.2 in Within the minimalist construc...

Ambient Grey (Abstract Painting) Beeswax, resin and pigment on canvas mounted on panel. Unframed. Mathematically, the concept of ambient space will change within a two or three di...

This painting is a perfect example of lyrical abstraction and a choice painting out of the best period of Vlerick's career. Ineffable, 1962 Oil on Masonite board 91,5 x 61,5 cm (without frame) 93 x 63 cm (framed) Signed and dated Top Right ‘P. Vlerick 1962’ with title, signature place and date at the back: Ineffable P. Vlerick Afsnee 1962 Pierre Vlerick’s work shows some resemblance to Willem de Kooning’s. While the Dutch American was famed for the wild manner in which he treated his canvas, Pierre Vlerick showed some more restraint, but making a painting was in any case a slow process of stopping and starting and revising. His exploration is meant to result in a correct proportion of colour fields and streaks, often applied layer upon layer. All his colors have a luminous intensity. It was mainly Bonnard’s colorful work that inspired Vlerick to compose his own singular range of colors of slightly tingling yellows, greens, oranges and bits of blue here and there. Abstraction is emphasized by his use of color. Colors not associated with objects from daily life often dominate the composition: purple, for instance. This is the basis for his continuing abstraction, ending up as color fields combined with organic elements depicted with the vaguest of contours. Though both artists create a very metropolitan, say even worldly art, their work evokes nature. De Kooning has been called a master of ‘abstract landscape’. The structure of Vlerick’s works, too, is very vegetable and organic. No wonder he referred to his paintings as his ‘gardens’. Neither artist allowed his garden to remain empty: de Kooning created a female figure looking like a cross between a floozy and the mother goddess. Vlerick imagined a woman who is enjoying her body. Vlerick’s approach to abstract art is the same as de Kooning’s; they refuse to paint in a figurative manner, yet at the same time do not wish to renounce referring to reality. De Kooning once put it very accurately during an interview when he conceded that painting the human figure any longer was absurd(in the post-war period), but also stated that it would be even more absurd not to do it. The only way out of this ambiguous dilemma is the deconstruction of the human figure. Not in order to reject it, but to show it in all its fragility. Pierre Vlerick’s exceptional artistic talents were already recognized while he was studying at the Ghent Academy (1940-1944) whereupon graduating he received a gold medal. In 1947-1948 Vlerick enrolls at the “la Grande Chaumière Academy”, a Parisian private academy which attracts lots of foreign artists thanks to the reputation of its most important teachers such as Maurice Denis (1870-1943). Denis was one of the founding fathers of “the Nabis” and is also considered to be the godfather of abstract art by many artists and art critics. Maurice Denis is famous for his quote: "Remember that a painting, before it is any kind of representation, is essentially a flat surface covered with colors in a certain collected order." At La Grande Chaumière, Vlerick is challenged to develop a pictorial language of his own. Vlerick develops a way to translate the observed reality into visions of color and form, which can be situated somewhere on the axis between the figurative and the abstract. Reality is decomposed and reconstructed into a complete new representation. After a trip to Spain in 1955 the painter evolves towards the use of brighter colors. At the Brussels World Exhibition of 1958 (Expo 58) Vlerick is for the first time confronted with real works of 17 American artists (William Baziotes, James Brooks, Sam Francis, Arshile Gorky, Adolph Gottlieb, Philip Guston, Grace Hartigan, Franz Kline, Willem de Kooning, Robert Motherwell, Barnett Newman, Jackson Pollock, Mark Rothko, Theodoros Stamos, Clyfford Still, Bradley Walker...

Indigo On Grey (Abstract painting) Beeswax, resin and pigment on archival paper mounted on archival board matted - Unframed. This work is from a series of works on paper...

Atlantis (Abstract Painting) Beeswax, resin, pigment and paper on panel - Unframed. The images Yntema creates are the result of accumulated, semi-translucent layers of color. The...

Chartreuse Over Cerelean (Abstract painting) Beeswax, resin and pigment on archival paper mounted on archival board matted - Unframed. This work is from a series of works on paper ...

Wimereux (Abstract Painting) Beeswax, resin and pigment on canvas mounted on panel. Unframed. This work continues the exploration of colour as both subject and object. In a formal ...

Beeswax, resin and pigment on canvas mounted on panels. Unframed. This work is from a series of formal trifold compositions of quiet horizontal abstraction is based in the Venetian ...

Beeswax, resin and pigment on panel - Unframed. The images Yntema creates are the result of accumulated, semi-translucent layers of color. The beeswax gives a dimensional quality t...

Beeswax, resin, pigment and paper on panel - Unframed. The images Yntema creates are the result of accumulated, semi-translucent layers of color. The beeswax gives a dimensional q...

Beeswax, resin and pigment on canvas mounted on panel - Unframed. The images Yntema creates are the result of accumulated, semi-translucent layers of color. The beeswax gives a di...

Beeswax, resin and pigment on canvas mounted on panel. Unframed. This work continues the exploration of colour as both subject and object. In a formal compositions of quiet horizont...

Beeswax, resin and pigment on canvas mounted on panel. Unframed. Mathematically, the concept of ambient space will change within a two or three dimensional space, one being true an...

Beeswax, resin and pigment on canvas mounted on panel. Unframed. This work is from a series of formal trifold compositions of quiet horizontal abstraction, based in the Venetian tra...

Sliding panels, acrylic on wood

This painting is a perfect example of lyrical abstraction and a choice painting out of the best period of Vlerick's career. Geen nachtschade (No Nightshade), 1962 Oil on Masonite board 121 x 61 cm (without frame) 136 x 75 cm (framed) Signed and dated bottom left ‘P. Vlerick 1962’& with title, signature place and date at the back Pierre Vlerick...

This painting is a perfect example of lyrical abstraction and a choice painting out of the best period of Vlerick's career. Pierre Vlerick’s work shows...

Marie Amédro is a French abstract artist, born in 1989, who lives and works in the countryside of Lille, France. This painting is called Tableau Vert n°3 ( = Green Painting n°3). N...

Oil on canvas painting of abstract clouds. The painting is called Woesterer - which is a non-existing word, but it has 'woest' in it, which means wild, angry in Dutch.