Paint Abstract Drawings and Watercolors

Title: Challenge Martini International Fencing Poster Design French Modernist Gouache Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 15.75 x 11.75 inches (he...

Title: Cubist Workshop And Architectural Scene With Tools And Abstract Figures Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 15 x 21.5 inches (height x widt...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Title: Modernist Still Life With Wine Bottle Cake And Raspberries French Gouache Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 12.75 x 9.5 inches (height x ...

Title: Challenge Martini International French Modernist Sports Advertising Style Poster Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 15.75 x 11.75 inches (...

Title: Vintage Modernist French Advertising Poster Design for Gaston de Lagrange Cognac Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 11.75 x 15.75 inches (...

Title: Challenge Martini International Fencing French Modernist Sports Poster Painting Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 15.75 x 11.75 inches (h...

Title: Abstract Still Life With Bottles and Branches French Modernist Watercolour Guy Nicod (French 1923 - 2021) Watercolour on artist paper, unframed Size: 25.75 x 19.5 inches (hei...

Jill Moser NY 7.24, 2024 gouache on watercolor paper 22.5 x 30 in. (mose010)

Mimmo Paladino Paduli 1948 Untitled, 1983 Watercolor, chalk, and ink on ivory-colored Fabriano paper (watermark) Monogrammed lower right and dated (19)83 Sheet size: 48 x 65 cm Fra...

This year, 2024, the artist Ruth Vidal (1998, Isla de Arousa) launches her latest research into painting and games. These works are based on the references that the artist draws from...

Vítor Mejuto introduces a geometric synthesis that breaks down painting into its most structural essence. His work, in which line, stain and shape establish a precise chromatic balan...

Title: French River Landscape With Bare Winter Trees And Rowing Boat Watercolour Guy Nicod (French 1923 - 2021) Watercolour on artist paper, unframed Size: 16.25 x 20.5 inches (heig...

'Composition in Orange and Red', gouache on paper, by James Pichette (circa 1970s). A dynamic, lively abstract composition by an artist known for such s...

Jill Moser NY 7.24, 2024 gouache on watercolor paper 22.5 x 30 in. (mose010)

Gouache on handmade Khadi paper. Unframed. Joanne Freeman's works on paper are made with gouache on handmade Indian Khadi paper. She uses tape to mask out shapes and employ hard e...

Abstract Red, Black & White Watercolor of Marble Sculpture with Engine Unique 100% Original Watercolor Alain Pino’s new works continue his exploration on the intersection between...

Title: Cubist Gouache French Farmyard Scene With Animals Figures Wine Barrels And Tools Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 14.5 x 21.75 inches (h...

This abstract painting on paper by Milly Ritsvedt features spring-like colours. The provocative power of colour is fully evident in the vivid hues of this painting by master colouri...

Title: Cubist French Abstract Interior Scene With Figures Table And Geometric Shapes Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 19.5 x 15.75 inches (heig...

Title: French Gouache Street Scene With Market Stalls Shops Figures And Architecture Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 19.75 x 25.5 inches (height x width) Provenance: Artists estate, France Condition: fair with age wear, surface creases, and fraying to the sheet edges Description: This atmospheric gouache by French modernist Guy Nicod captures the vibrancy of a bustling street market scene. Rendered with expressive brushwork and bold colour contrasts, the composition shows figures moving among market stalls, shopfronts, and delivery vehicles beneath the looming façades of Parisian-style architecture. On the right, a shop sign reading Fruits glows with yellow illumination, highlighting vendors and customers engaged in lively exchange. A truck and silhouetted figures traverse the centre, while the street recedes toward an archway in the distance, anchoring the scene in a distinctly urban setting. Nicod’s painterly approach here contrasts with his cubist abstractions, revealing his ability to capture movement and atmosphere with a modernist eye. The gouache medium lends a rich matte finish, with vivid blues, yellows, and reds creating striking tonal contrasts against the darker architecture and evening sky. The spontaneity of the brushwork evokes the immediacy of urban life, where commerce and community intersect in daily rhythm. This work is particularly search-friendly and appealing to collectors of French urban landscapes, market scenes, and Parisian street views. Keywords such as French market painting...

Title: Cubist French Abstract Composition With Figures Architecture And Red Background Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 23 x 19 inches (height ...

Title: Cubist Kitchen And Butcher Scene With Hanging Meats And Utensils Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 14.5 x 21.75 inches (height x width) P...

Carefully ordered patterns and geometric shapes in indigo, navy blue and dark eggplant purple with delicate prismatic rainbow lines complement a soft grayish blue background. Signed ...

Title: Woodland Path Among Pines Provence French Landscape Gouache Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 19.75 x 25.5 inches (height x width) Proven...

Title: Cubist Still Life With Glass Bottles Vessels And Abstract Architectural Interior Guy Nicod (French 1923 - 2021) Gouache on artist paper...

"Conversation" is an abstract expressionist piece that embodies the tension between spontaneity and structure. Sweeping gestures and delicate washes intertwine in a layered dialogue ...

Vagues “Wave” by TOSHIMITSU ÏMAI (1928-2002) Acrylic on paper 127 x 95 cm (50 x 37 3⁄8 inches) Signed in Japanese and English lower right, inscribed and dated 1992 on the reverse Provenance: Studio of the artist Dr Jean-Paul Coussy (Director of MCAP Museum, France), acquired directly from the artist, March 15th 1998 Dr Giorgio Tosetti, Italy, acquired from the above Exhibitions: Paris, Galerie Chozo Yoshii, Hommage à André Malraux - Les voix du Silence, September - November 1997 Literature G. C. Calza, Imaï, Electa, Milan, 1998 (Onde/Waves series) Artist biography: Born in Kyoto, Japan in 1928 Imai was part of the 20th century Japanese avant-garde. He began his formal education at the Tokyo State Art Academy where he took up painting. His early works are characterised by colourful abstractions, reminiscent of Favuism. In 1951 Imai was awarded the Kansai-Shinseisaku Prize and in 1952 the prize for the best new artist at the 15th Shinseisaku Salon. Imai relocated to Paris in 1953, the same and subsequent year he exhibited at the Salon de L’Art Sacré. Meanwhile, he attended the Académie de la Grande Chaumière and the Sorbonne to read medieval history and philosophy. In 1955, Imai completely abandoned representational art in favour of abstraction. After meeting the art critic Michel Tapié via the artist Sam Francis, Imai was the first Japanese artist to join the Art Informel movement. In 1956 Imai was called upon by the Japanese artist Taro Okamoto to curate an exhibition entitled The World: Today’s Art in Tokyo. Artists such as Jean Dubuffet, Jean Fautrier, Lucio Fontana, and Karel Appel gained important exposure in Japan. It was also in 1957, when Imai arranged for Tapié and the artists Georges Mathieu and Sam Francis to travel to Japan, that a connection between Art Informel and Gutai occurred. The Ashiya-based Gutai Art Association formed in 1954 was proclaimed a kindred spirit by Tapié which he subsequently promoted internationally. Founding members included Yoshihara Jiro, Kanayma Akira, Murakami Saburo, Shiraga Kazuo and Shozo...

This contemporary acrylic abstract painting is one of Milly Ristvedt’s earlier works. Known as a master colourist, this piece was painted in the 1970s when the Canadian artist was n...

September Morning: The First Ferry. 1929. Watercolor. 10 1/8 x 13 (image and sheet). Provenance: The Fine Art Society, London. A misty, impressionist watercolor on French papier ved...

Joyce Kozloff Topkapi Pullman, 1985 Watercolor and acrylic on paper (bears original gallery labels: Barbara Gladstone Gallery, Gallery Camino Real, Boston University Art Gallery) Sig...

Kachina Figures, by Dan Namingha, green, black, framed, Hopi, drawing, katsina

Signed lower right, 'V. Vigil' for Veloy Vigil (American, 1931-1997). Previously with: Los Robles Gallery, Palo Alto, California Born in Denver, Colorado,...

Untitled 04, 2015 - 2016 Mixed technique: oil paint, adhesive on paper (Signed on reverse, Framed) 8.26 H x 5.9 W in 21 H x 15 W cm Zsolt Berszán’s work...

A Striking, Colorful 1942 Modern Surrealist Abstraction by Notable New York Avant Garde Artist, Hannah Harari (Am. 1912-2000). Titled "The Baroque Portal", the artwork is mixed medi...

Hand signed frame measures 39 X 51 sheet measures 29 X 41 This will be shipped unframed If you would like the frame please contact me. Apple or fruit shape abstract color field pai...

Grisha Bruskin Study 8, 1990 Ink and Gouache on paper Hand signed and inscribed by the artist on the front Original vintage frame with Marlborough Gallery label included This work is...

Friedel Dzubas Untitled, 1985 Acrylic on paper 24 1/2 x 30 inches A noted figure in the New York School, Friedel Dzubas was associated with the Color Field painting movement in the...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 10.75 x 8.5 inches condition: excellent provenance: all the paintings we h...

'Untitled II' abstract composition, mixed media on soft board, Japanese ink, oil, pencil and gouache by Erez Yardeni (2018). There is so much energy in th...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative take...

Original Fashion Design Illustration by Roz Jennings, British watercolor and ink on card, unframed size: 11.75 x 8.25 inches condition: very good A beautifully colorful and characte...

Signed lower right, 'Mario Cespedes' (Bolivian-American, born 1942) and created circa 1985. Matted dimensions: 24 H x 18 W x .25 D inches. Born in Bolivia, Mario Cespedes immigrated...

Abstract Composition (c.2022) by Robert Somerton, British, born 1972. ink/ watercolor on art paper, unframed size: 9.5 x 12.5 inches condition: excellent

Jim’s of Lambertville is proud to offer this artwork by: Lloyd R. Ney (1893 – 1964) Called “Bill” by his friends, Lloyd Ney was one of the pioneers of Modernist art in New Hope. Ne...

Interior design paintings. The artwork were done with acrylic, ink and watercolor in white color on black watercolor paper 360g. The work are 12 by 16.5 inches in size, framed (black...

Crossways is a watercolor painting by the Italian artist Lucio Pozzi. The paper is signed and titled by the artist himself, and the work is currently housed at Hal Bromm Gallery.

Carl-Henning Pedersen (Denmark, 1913 - 2007) The Blue Earth II, 1971 Watercolor on paper Signed and dated lower right, signed, dated and titled verso 30.5 x 21.5 inches Carl-Henning Pedersen was born in Copenhagen in 1913. At an early age he began taking part in politics, first in the youth association of social democrats and later in the youth association of communists, which better suited his revolutionary activist nature against fascism. In 1933, he attended the public high school of Humblebaek where he met the painter Else Alfelt, who he would marry in 1934 and with whom he would have two daughters. For many years the family divided its time between Copenhagen and the city of Bovbjerg, located on the North Sea, where Carl and Else had a studio. Between 1935 and 1940, Pedersen started to sketch and paint. He exhibited for the first time, together with his wife, in “Kunstnernes Efterårsudstilling” (The Artists' Fall Exhibition) in Copenhagen in 1936. Pedersen associated with the young painters close to abstract movements, and like them, worked under difficult conditions. He went to Paris in 1939, where he encountered the work of Picasso, Matisse and Chagall. Between 1940 and 1945, he contributed to the journal Helhesten. In the same journal, Pedersen published the text "Arte astratta o arte immaginaria," that supplied the most complete and precise definition, up to that point, of the work principles of the young generation of painters, of which he was a part. This definition, in many ways, was close to that which would be the program of the group Cobra. Between 1945 and 1960, the Danish artists went abroad and, along with Dutch and Belgian artists, founded the group Cobra, which was active between 1948 and 1951. During this period in 1948, Pedersen participated in the Biennial of Venice. He exhibited extensively with Cobra in shows such as its first important show which was held at the Stedelijk Museum of Amsterdam in 1949, “International Experimental Art.” Afterwords, Pedersen distanced himself from the group and began to travel frequently. His destinations included Greece, Italy, France, Switzerland, Norway, Lapland, Iceland, Turkey, Nepal, and Jerusalem. He received the Eckersberg Award in 1950 from the Royal Danish Academy of Art. In 1952, he participated in “Contemporary Drawings from 12 Countries, 1945/1952,” an exhibition held at the Toledo Museum of Art in Toledo, Ohio, the exhibition also traveled to other museums in the United States, while in 1955, he took part in the group exhibition “Expressionism 1900/1955,” at the Walker Art Center in Minneapolis (also a traveling exhibition throughout the United States). He participated in the 1952, 1955, 1958, 1961, 1964, and 1967 editions of “The Pittsburgh International Exhibition of Contemporary Painting and Sculpture” at the Museum of Art of the Carnegie Institute in Pittsburgh. The same museum also honored him with solo exhibitions in 1961 and 1968. In 1966, he exhibited at the Solomon R. Guggenheim Museum of New York in the show “European Drawings” that also traveled to Hawaii, Canada, Argentina, and Germany. In 1967, he showed at the “2. Internationale der Zeichnung” in Darmstadt, and then in 1968, he participated in the Premio Marzotto and the “Exhibition of Expressionist Art after 1950” at the Kunstmuseum of Lucerne, which then toured in Romania, Australia, Belgium, and Finland. Pedersen received the medal of Prince Eugen in 1980, and he participated in the exhibition “Danish Artists, Carl-Henning Pedersen, Else Alfelt, Egil Jacobsen...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Joanne Freeman Squares and Strokes (Ultra_22), 2025 gouache on handmade paper 28 x 20 in. image: 22 x 14 in. (freem245) My paintings and drawings incorporate elements found in archi...

Stylish decoupage work by Paul Garland featuring abstract geometric angles in chrome frame Art Sz: 17 1/4"H x 18"W Frame Sz: 18"H x 18"W For over 50 years, Paul Garland (b. 1943) ...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Frank Duffield (British, 1908-1982) original watercolour painting on board, unframed size: 10.5 x 13.75 inches condition: overall very good, minor wear to the edges as is normal for ...

Pioneering female abstract artist Elsie Driggs paints stylized abstract organic forms in a warm palette of orange browns and tope. She merges abstraction with some figuration. A structured face composed of lines and tone emerges from an orange background. It's 1939, and even though Driggs is not well known, she is preceding many of the marquee names of abstraction by a decade. Although under the radar, this is a major work and is titled on the back stretcher is " Egyptian Gothic." It features the artist's inventiveness with her fine pencil lines incorporated in flat washes of color and collage elements. Signed lower right and inscribed on frame verso with title, artist and the date of 1939. Provenance, Christie's, Freemans. Framed under glass.. Elsie Driggs (1898 – July 12, 1992 in New York City) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism, and for her later floral and figurative watercolors, pastels, and oils. She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape. Her works are in the collection of the Whitney Museum of American Art, the Houston Museum of the Fine Arts, the Fine Arts Museums of San Francisco, the James A. Michener Art Museum in Pennsylvania, and the Columbus Museum of Art, among others. She was married to the American abstract artist Lee Gatch. Career Born in Hartford, Connecticut, Driggs grew up in New Rochelle, a suburb of New York City, in a family that was supportive of her artistic interests. After a summer spent painting with her sister in New Mexico in her late teens, she felt she had found her life's calling. At twenty, she enrolled in classes at the Art Students League of New York, where she studied under George Luks and Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration.[1] Driggs eventually settled in New York City, where she found representation with the progressive Charles Daniel Gallery.[2] (Advised that the old-fashioned and misogynistic Daniel would be unlikely to take on a woman artist, she signed the works she left for his consideration simply "Driggs" and waited to meet him in person until he had expressed his eagerness to include her in his gallery.)[3] In sympathy with those artists Daniel represented who were part of the burgeoning Precisionist movement, such as Charles Demuth, Charles Sheeler, George Ault, Niles Spencer, and Preston Dickinson, she too painted "the modern landscape of factories, bridges, and skyscrapers with geometric precision and almost abstract spareness."Impressionism and academic or Ashcan realism represented the past, in Driggs' view, and she intended to be resolutely modern. She was an attractive and engaging woman, but her demeanor belied a strong ambition and a clear sense of what it would take to make her mark in the New York art world. Driggs was part of the pre-eminent first group of Precisionist painters, including Demuth and Sheeler, who exhibited at the Daniel Gallery in the 1920s. Although a later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s, Driggs felt that the style came to an end with the 1929 stock market crash.[5] In 1926 she painted her most famous work, Pittsburgh, a dark and brooding picture now in the permanent collection of the Whitney Museum of American Art, which depicts the gargantuan smokestacks of the Jones & Laughlin steel mills in Pittsburgh. Its focus is an overpowering mass of black and gray smokestacks, thick piping, and crisscrossing wires with only clouds of smoke to relieve the severity of the image, yet it was an image in which she found an ironic beauty. She called the picture "my El Greco" and expressed surprise that viewers in later years interpreted the painting as a work of social criticism. Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present. If anything, Precisionism, like Futurism, was a celebration of man-made energy and technology. One year later, she painted Blast Furnaces, in a similar vein. As noted above, Piero della Francesca's mural depicting "The Story of the True Cross" in Arezzo, with its tubular, static and frozen forms was the major influence on Driggs' "Pittsburgh" (it may have been the major influence for "Blast Furnaces" as well).[7] After Pittsburgh, Driggs' most acclaimed work was probably Queensborough Bridge...

Neerja Chandna Peters enjoys navigating harmony through the play of lines with their symmetrical synchrony and rhythmic interplay, manipulating the nuances, their saturation and thei...

This is a beautiful expressionist style drawing by Juanjo Saez. Juanjo's pictorial work is an exploration of color, texture, and movement, creating vibrant compositions that capture ...

Dimitri Petrov, American (1919 - 1986) - Untitled II, Year: 1976, Medium: Ink and Watercolor on Paper, signed and dated, Image Size: 16 x 24 inches, Size: 22 x 30 in. (55.88 x ...

Dimitri Petrov, American (1919 - 1986) - Untitled - Reaching Figures, Year: 1975, Medium: Pencil with Watercolor on Paper, signed, Size: 22 x 30 in. (55.88 x 76.2 cm)

Dimitri Petrov, American (1919 - 1986) - Untitled - Cubist Abstract, Year: 1976, Medium: Watercolor and Pencil on Paper, signed, Size: 22 x 30 in. (55.88 x 76.2 cm)

Jane Kent, American (1952 - ) - Abstract Composition, Year: circa 1993, Medium: Watercolor on Arches, Size: 30 x 22.5 in. (76.2 x 57.15 cm)