Abstract Geometric Paintings

James Minden 51904 Holographic style painting- incised plastic and acrylic on wood panel 24 x 24 inches 2019 To get a sense of the holographic effect look at the video on that vime...

Oli Sihvonen DK. Green, Scarlet, Blue, circa 1977 Signed and titled on the reverse Acrylic on canvas 36 x 36 inches Known for large, hard-edged abstractions, Oli T. Sihvonen, a Bro...

Larry Zox Jean Jean, 1964 Signed, dated, and titled on the stretcher Liquitex on canvas 58 x 62 inches Provenance: Solomon & Co., New York Private Collection, NJ Estate of the above, 2023 Committed to abstraction throughout his career, Larry Zox played a central role in the Color Field discourse of the 1960s and 1970s. His work of the time, consisting of brilliantly colored geometric shapes in dynamic juxtapositions, demonstrated that hard-edge painting was neither cold nor formalistic. He reused certain motifs, but he did so less to explore their aspects than to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his essay for Zox’s solo exhibition at the Whitney Museum of American Art in 1973. By the 1970s, Zox was using a freer, more emotive method, while maintaining the autonomy of color, which increasingly became more important to him than structure in his late years. Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler for the Gallery of Modern Art, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, Zox was represented in the inaugural exhibition of the Hirshhorn Museum, which owns fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University. While studying at the Des Moines Art Center, he was mentored by George Grosz, who despite his own figurative approach encouraged Zox’s forays into abstraction. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers. He occasionally sparred with the visiting fighters. He later established a studio in East Hampton, where he painted and fished including using a helicopter to spot fish. In the 1950s and early 1960s, Zox’s works were collages consisting of painted pieces of paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of intense hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. From 1962 to 1965, he produced his Rotation Series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.” In 1965, he began the Scissors Jack...

A graduate of The Art Center College of Design and The Claremont Graduate School, Couwenberg worked under the guidance of Karl Benjamin, one of the leading figures in the Southern Ca...

Artist: Jack Graves III (American, 1988-) Title: "Victory" Series: Abstract *Signed by Graves lower right. It is also signed, titled, and dated on verso Year: 2022 Medium: Original ...

Grey Commuter Soft Geometry Series 2012 oil on canvas Consists of 8 modular pieces Each piece 12x9 inches Signed, dated and titled on the reverse side. Robert Petrick's artwork dr...

Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ability to perceive? ...

Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ability to perceive? ...

Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ability to perceive? ...

2 Cybergraph (M11)). Colourful abstract geometric painting Mixed media and Acrylic Paint on panel, 2023. Dimensions: 34 x 31 x 4 cm. In inches: 13.39" x 12.2" x 1.57" . Simplicity,...

Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ability to perceive? ...

Peeking Yellow, 2017, Oil on Wood, 12 x 12 Inches. This painting is currently on view in a one-person exhibition of the artist's works at the Beth Urdang Gallery in Boston. Jean Fe...

This series of hand painted acrylic paintings by Natalia Roman are inspired by the colors and textures of Italian terrazzo tiling. The patterns created c...

An oil painting by soho based artist Gene Johnson. Artist Bio Gene Johnson has been painting and exhibiting since the mid-80s in New York City. He has participated in many group a...

"Negative Blue" Soft Geometry Series 2017 OIL on canvas 24X24" Signed, dated and titled on the reverse side Robert Petrick's paintings create a link between the street culture of ...

Classic abstract artwork from the 1990s East Village scene. Robert Petrick Strip Series #14 57 x 41 inches Acrylic on Canvas New York geometric ges...

This is a one of a kind original painting by southern California artist, Scott Rohlfs. Its size is 12" x 12" x 1.5". It is unframed. A certificate of auth...

Aster da Fonseca Stormy Weather I Acrylic on Wood 2019 10.5 x 9.25 inches Signed on verso, lower right COA provided #abstract #geometric # minimal #acrylic # nature #painting #wood ...

This is a mixed-media artwork by Monty Montgomery. Its dimensions are 48 x 77 x 2.5 and it is Aerosol on Custom Panel with UV Gloss Varnish. A certificat...

Gouache and graphite on handmade paper. 24 x 18 inches unframed, 28 x 22.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

Black Line Geometric Abstract Artist signed verso, oil on canvas 48x36 JARO was born in 1934 Prague the Czech Republic. Since his childhood, he enjoyed his art class at school the most. Almost every drawing and panting were on display in his classroom. During his college years, in Vienna Austria, studying to become mechanical engineer, he continued to study art. His technical drafting education became later a major factor and influence in his GEOMETRIC ABSTRACTION (Non-Objective) paintings. He immigrated in 1957 to the USA, New York , where he finished his first small oil painting. Since then JARO painted on and off, until he opened his own studio in 1965 on East 4th Street in the Village. Here he created a series of well designed palette knife paintings in the style of abstract expressionism. JARO stretched off shaped canvases, making him one of the first artists working with these unique shapes. At the time JARO owned his own studio, he studied at the Art Students League 57th Street, New York.  Later in 1969, he studied in Woodstock for several years with John Pike, one of the foremost watercolorists in America, as well as, with Robert Angeloch...

This is a mixed-media artwork by Monty Montgomery. Its dimensions are 16 x 16 x 1.6 and it is Aerosol and Molding Paste on Birch Panel with UV Gloss Varnish. A certificate of authent...

Milan Tiff The N Word 48 x 48 inches Hand-signed by artist Artist's signature, artwork title and date on back of canvas Milan Tiff was born in 1949 in Shak...

Milan Tiff Cracker 48 x 48 inches Hand-signed by artist Artist's signature, artwork title and date on back of canvas Milan Tiff was born in 1949 in Shaker ...

Richard Andres (American, 1927-2013) Pieces Collage, c. 1965 collage on paper 14 x 18 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

Here we have an abstract composition composed of hands, a reptilian-like figure, and a string instrument. All three subjects are joined together, creating an otherworldly like being. Marc Sterling...

Gouache and graphite on handmade paper. 18 x 12 inches unframed, 23.25 x 17.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

Step into the mesmerizing intersection of mathematics, geometry, and fine art with Logarithmic Spiral #2, an original 1970s oil painting on board by Chase Varney, a talented modern a...

Gouache and graphite on handmade paper. 24 x 18 inches unframed. 28 x 22.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see? What are the things that influence our ability to perceive? ...

"Four is More #3" Acrylic on canvas 40 x 30 x .5 inches 2023 Ted Dixon is a Black painter working primarily in abstraction. He writes: "How do we learn to see what we cannot yet see...

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...

Abstract painter Paul Heald was born in Michigan in 1936. He moved to the West Coast and died in Washington in 2014. His body of work focuses on line and form abstract painting, usu...

An original oil on canvas painting from the estate of George North Morris from the artist's "Lovers" series. This piece comes in its original wood frame presentation. George North Morris - painter, writer, teacher Born May 13, 1915 in East Liberty, PA Died Oct. 1, 1996 in Hudson, NY Studio locations over the years: varied from Hyannis (MA), Providence (RI), Oglethorp (GA), Montpelier (VT), Yonkers & Westchester Co. (NY) to the later years in Germantown (NY). Subject matter consisted mainly of seascapes and landscapes but in the 60's and 70's he experienced his abstract era. The later years, in fact most of his life was spent in New England and N.Y. state. Most of his more valuable paintings where along the Hudson River and Westchester County. His most frequent methods were oils and water colors, and in the 1940' his artistic expression was through the use of clay. Most of his pottery was made from local Cape Cod (Barnstable) clay which he and his family dug, washed and prepared. He wrote a part of the foreward, called "The Tradition", for a book "A Century and a Half of American Art 1825-1975". Published in 1975 by the "National Academy of Design". He was also an art critic and reporter for the Worcester Telegram and the Provincetown New Beacon. He was a person that felt time was by far better spent talking about and hearing ideas and thoughts. The following are some of his. George Morris's life was that of art and art critic as well as educator. "It was the two summers, 1938 and 1939" recalled Morris, "that I really learned how to paint". Though much of his work showed a strong Edward Hopper influence, at the same time it took many roads. It was, over the years, much too varied to categorize. He started with collage, moved to abstraction, and then to a period during the late 1960s and '70s when he completed what he called his "Lovers Series" - erotic paintings filled with large orchestrated flat color - that show him moving away from abstraction. Upon becoming bored with the concept of abstract painting, he looked for new challenges in pastels, acrylics and water colors, painting once again what he called "the world as it is recognizable by others". George firmly believed that all the best artists are good hucksters, too. Solo exhibitions as a painter were as follows: Columbia-Greene Community College - 1985 Barrett House - 1985 Smith Gallery - 1980, '81, '82 Swansborough Gallery, Wellfleet - 1983 Hopper House, Nyack, NY - 1981 Hudson River Museum, Yonkers Shepherd Gallery...

Artist: Marko Spalatin (Croatian-American, 1945-) Title: "Mitla" *Signed by Spalatin in pencil lower right. It is also signed and titled by the artist upper left on verso Year: 1991 ...

Artist Bio: Carole Eisner was born and raised in New York City and received a BFA from Syracuse University. She has had eight solo shows in New York City at David Findlay Gallery, ...

Artist Bio: Carole Eisner was born and raised in New York City and received a BFA from Syracuse University. She has had eight solo shows in New York City at David Findlay Gallery, E...

Artist Bio: Carole Eisner was born and raised in New York City and received a BFA from Syracuse University. She has had eight solo shows in New York City at David Findlay Gallery, E...

Erin Parish draws on patterns found in nature for the subject matter of her tactile, bold, and brilliant abstract paintings created with oil and resin on wood and canvas. Inspired by...

Erin Parish draws on patterns found in nature for the subject matter of her tactile, bold, and brilliant abstract paintings created with oil and resin on wood and canvas. Inspired by...

Artist: Jack Graves III (American, 1988-) Title: "Diamond XXXVII" Series: Diamond *Signed by Graves lower right. It is also signed, titled, and dated on verso Year: 2022 Medium: Ori...

Artist: Irwin McFadden, American Title: Variants Year: 1972 Medium: Acrylic on Canvas, signed and dated verso Size: 19.5 in. x 19.5 in. (49.53 cm x 49.53 cm) Frame Size: 25 x 25 inches

This is a one of a kind original oil and resin painting by San Diego artist, Julia San Roman. Its dimensions are 30" x 12" x 1.5". It is unframed. A certificate of authenticity will ...

“Long Journey” is a new spray paint and marker work on canvas by Ettoja, one of the most prominent illustrators and street art creators in Lithuania (Ukrainian born). This painting ...

Robert Petrick's paintings create a link between the street culture of the East Village, where he has lived for 31 years, and the power of language, which he has worked with his enti...

"City Lines" 40X50x1.75" acrylic on canvas 2018 NYC Signed, dated and titled on the reverse side. "Line series influenced by the digital city"

This is a one of a kind original geometric abstract acrylic painting on canvas by San Diego artist, Viktoria Romanova. Its dimensions are 9"x12"x1.5". It is unframed. A Certificate o...

Continuing on with the Unity series I am starting to feel even more connected to the theme which seems to unite us all. Looking at cultures and spiritual traditions from around the ...

The Unity series is best described by a short story found in the introduction to author Don Miguel Ruiz’s book The Four Agreements. Three thousand years ago there was a [man] just...

Sacred geometry is the tool that I use most in the Unity series to explore our relationship to the Divine and to the power and process of creation. Sacred geometry can be seen almo...

In dealing with numbers and geometry there is a lot of symbology at every turn. The equilateral triangle when facing upwards is the symbol of the element of Fire. The number 3 indi...

Continuing on with the Unity series I am starting to feel even more connected to the theme which seems to unite us all. Looking at cultures and spiritual traditions from around the ...

Another area of focus while exploring the number 3 has been the three centers within the body for creation; the mind, the heart, and the groin/sexual center. From the power center o...

Another area of focus while exploring the number 3 has been the three centers within the body for creation; the mind, the heart, and the groin/sexual center. From the power center o...

"Sat Chit Ananda" My soul is free from all restrictions My soul has spontaneous knowing My soul exists in complete fulfillment/bliss "Sat Chit Ananda" is a sutra that describes the ...

We are all connected. Another focus of the Unity series is taking all of the information, all of the breakthrough moments of understanding and awareness on the path of self-discover...

"Somersault" is an original, handmade paper collage on wood cradle, by Amy Hutcheson, that depicts an abstract painting with colorful geometric shapes in...

"Hopscotch to the Moon" is an original, handmade paper collage on wood cradle, by Amy Hutcheson, that depicts an abstract painting with colorful geometri...

"Cold Fusion 2" Stripe infusion Series 2017 acrylic on canvas 18X18" Signed, dated and titled on the reverse side Robert Petrick's paintings create a link between the street cultu...

Paolo Minoli nasce a Cantù (Como) e si diploma “Maestro d’Arte” nel 1961 presso l’Istituto d’Arte di Cantù, dove insegna dal 1964 al 1978. A partire dagli anni Settanta sviluppa una ...