Abstract Geometric Paintings

Painting by Maryanne Pollock titled "Totem". Work is signed and dated 2018 on reverse. Maryanne Pollock received her BFA from Tyler School of Art in Philadelphia and Rome, Italy. She continued studying at the Pennsylvania Academy of Fine Arts, the Corcoran College of Art and Design and American...

Sand game 3 2023, canvas, oil, collage, 50x40 cm Alyona Prokofyeva (1988) From 2016 surname Galaktionova. Alyona graduated Riga art school, Latvian University, receiving a visual ...

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...

Geometric and gestural abstract painting on canvas in earth tones of beige, tan, and light brown with accents of dark magenta, light sienna, and neon pink Disturbances in the Field, 2019 by Jeanette Fintz 60 x 72 x 2 inches, acrylic on canvas Signed verso Hanging wire on reverse "Disturbances in the Field" is a painting in a series of work created during the year of the pandemic. The artist explains that this painting is about "giving structure to something intangible, ephemeral, in-flux or conversely, revealing the dissolving of structure that has been.” As an abstract artist, Fintz has long been interested in the contrast of hard-edged planar geometry (circles, squares, hexagons) existing within an atmospheric field where shapes can float or hold the plane, in a space that appears expansive, transient and increasingly released from the canvas’s edge. A calculated use of opacity and transparency resulting from fluid washes of acrylic create an atmosphere where fragmented geometry becomes “a vocabulary of gestures”. This work merges white and faintly gold hard edge lines with gentle washes of blue and neutrals. Working in a space between planning and chance, Jeanette Fintz presents a series of paintings that fuse gestural and geometric abstraction. This body of work continues Fintz’s use of the circle, ellipse and hexagon; motifs that embody references to nature, architecture and the decorative arts. Jeanette Fintz is an established artist working in the Hudson Valley, NY. She has taught at the School of Design Strategies at Parsons the New School for Design, SUNY Purchase, and Pratt Institute, among other American universities. Her work is collected in both private and corporate collections worldwide. To read more about her career, please scroll down for see her detailed CV and biography. Artist Statement: My paintings evolve in a space between planning & chance, systems & spontaneity, conveying contradictions that I view as metaphors for maneuvering through “real “life. In this work I play a fairly high stakes game of improvisation around a motif. Using a working method akin to jazz, I counterpoint systematically repeated elliptical shapes against gestural pours & drips and something unexpected emerges. I am drawn to create complexity, and challenged to unify multiple layers through the physicality of the paint, which fuses & knits together, as well as, ultimately, through the power of color to stabilize & resolve. The ellipse, which is hypnotic & spatial in repetition, & monumental, but not static as a shape unto itself, embodies references to nature and to the decorative arts which are both alluded to in the paintings. (The egg, the mirror, the vulva, or the shield.) Dynamic visual rhythms, in these pieces, the momentum of the repetitive ellipse, are typical of my work and help to maintain order within complexity. Their sources for me are both musical, notably the poly-rhythms of Latin jazz, Brazilian & East Indian music, and are also derived from the decorative arts, particularly textiles. The latter have been a source of excitement, often contributing a playful aspect to the paintings. I intentionally disturb the regularity of pattern, encouraging discordance & uniqueness, and then bring it back home after finding another by - way to work things through. Color is my most intuitive source of inspiration, connecting me to nature; It is also, ironically, my most passionately calculated element. In the primal struggle among sometimes apparently random components, subtlely modulated color clarifies purpose, builds context, and holds the structure together. The intuitive rhythmic order of Jeanette’s paintings prior to 2009 which featured repetitive lines, circles and ellipses clashing with fluid gestural streams of color have given way fully in the new work to a given crystalline geometric substructure that unifies all visual events. This work embraces and employs the Oneness found in sacred geometry as the underpinning for improvised pathways that give each work its uniqueness. Shapes that are found have a “role” to play, to riff off some of Jeanette’s series titles. The earlier pieces acknowledge through the unexpected visual event, the imperfection of the human condition while the newer geometries strive for the expression of spiritual wholeness and connection. About the artist: Jeanette Fintz is an abstract painter, who resides and paints in Hudson, NY. She is also an arts writer and independent curator. The intermix of being a native New Yorker and now, happily, a resident of the lush Hudson River Valley is evident in her work, which combines an urban edginess with the lyrical influences of her natural surroundings. Ms. Fintz was born in Brooklyn NY, educated at Queens College, The New York Studio School and Boston University. Her personal amalgam of NY School formalist principles, and love of natural light and color was initially forged during her summer at the Skowhegan School of Painting & Sculpture where she painted from the Maine landscape. Ms. Fintz lived and worked in the artist communities of Tribeca and Williamsburg, exhibiting regularly in NYC. Jeanette in part, credits the importance of natural light for her decision to transplant home and studio to Surprise. Ms Fintz has filtered nature through her urban sensibility, stretching color motifs towards the heightened and intensified palette often found in the realms of design and fashion. Her pieces have a rhythmic impact stemming both from her enjoyment of jazz and poly-rhythms of Brazilian and Indian origin, which she also sees displayed in the visual rhythms found in textiles and Islamic tile patterns. Jeanette’s involvement with these resources was enhanced by sabbatical travel to Spain’s Andalusia Region (2005 & 2009) to investigate patterning systems found in Moorish tiles and architecture, and to Turkey (2013), where she focused on the Iznik, Byzantine and Greco-Roman tiles and frescoes. Jeanette also had immersed herself in textile patterns and Ikat designs during her yearlong sojourn in Malaysia, where she was founding faculty in a new Parsons School of Design affiliate in Kuala Lumpur (1996-97). Selected Grants and Awards include 2015 EYP Architecture & Engineering Award, Artists of the Mohawk Hudson Region 2015 Trustees Award, Albany Institute of History & Art 2013 Sabbatical, Parsons the New School For Design 2008 The Emil & Dines Carlsen Award / Painting, National Academy of Design 2005 Sabbatical, Parsons the New School for School Design 2005 Sudden Opportunity Stipend 2003 Faculty Development Award, Parsons, the New School for School for Design 1995-92 Sudden Opportunity Stipend, NYFA Rensselaer County Council for the Arts 1993 N Y F A, Artists Fellowship / Drawing 1990 E. D. Foundation Grant / Painting 1984 Ludwig Vogelstein Grant / Painting 1980 The Ingram Merrill Award / Painting 1975 Purchase Prize, Painting, Skowhegan School for Painting & Sculpture Ms Fintz has taught as an Assistant Professor of Art & Design, in the School of Design Strategies at Parsons the New School for Design for 17 years. At Purchase College, SUNY, Jeanette taught all levels of painting and drawing for 12 years as Assistant Professor in the BFA conservatory program. She also has taught at Pratt Institute, Brooklyn, NY, Hobart & William Smith Colleges, Geneva, NY, The University of Southern Maine, Portland, The University of the Arts, Philadelphia, PA, and SUNY, Albany. Jeanette shows her work at the Garvey Simon Gallery, New York, NY, Fox Gallery, New York, NY, Geoffrey Young Gallery, Great Barrington MA, the Thompson Giroux Gallery, Chatham NY, Cross Contemporary Gallery, Saugerties, NY. Recent projects include a solo show at Garvey Simon Gallery, NY NY (Sept. 7 - Oct, 2017), and a curatorial project, "The Ritual of Construction," at the Kleinert James Center, Woodstock Byrdcliff Guild (May 19 - July , 2017). Ms Fintz’s Residencies and Fellowships include: The MacDowell Colony, The Millay Colony for the Arts, The Ucross Foundation, and Altos De Chavon & Ossabaw Island Project. Jeanette’s selected Visiting Artist spots include Art New England, Bennington College, Bennington, VT, Ohio State University, Columbus, OH, Illinois State University, Normal, IL, Hobart & William Smith Colleges, Geneva NY. Ms. Fintz received her MFA from Boston Universtiy SFA (1975 ), and her BA from Queens College CUNY (1972). She attended the New York Studio School (1972-73), and received a scholarship to the Skowhegan School in 1975. Ms Fintz’s work can be found in many national & international collections. Collections Par Capital Management Boston MA VYV Apartments, Luxury High Rise, Jersey City, NJ Boca Raton Yacht Club, Waldorf Astoria Resort, Boca Raton, FL Liberty Mutual Insurance Company, Boston, MA, and Plano, TX Robert A.M. Stern Architectural Project, Washington DC Capital G Bank Hamilton, Bermuda Brigham & Women's Hospital, Foxboro, MA Wilmer Cutler Pickering Hale & Dorr, Boston, MA Posternak Blankstein & Lund, Boston, MA Hale & Dorr, Boston, MA Analysis Group, Boston, MA National Televison, 7 Kuala Lumpur, Malaysia Christmas Island Phosphate, Singapore Jewish Free Loan Association, Los Angeles CA Rabobank NYC Commerzbank, New York, NY Commerzbank 2, World Financial Center, New York, NY National Television 7, Kuala Lumpur, Malaysia Hobart & William Smith Colleges, Geneva, NY Skowhegan School, Skowhegan, Maine Collection of Minister of Agriculture Datuk Effendi & Datin Norwawi Collection of the Former Prime Minister Datuk Seri Dr Mahathir Mohamed of Malaysia Jim & Debbie Ellickson -Brown, Cultural Attache, American Embassy, Kuala Lumpur Malaysia (1996) Rohana Tan Sri Mahamad, Kuala Lumpur, MY Suherwan Abu, Kuala Lumpur, MY & Singapore Valentine Willie, Kuala Lumpur, MY Aloysious Goh, Singapore Betsey Swan & Chris Calder, Albuquerque NM Carrie Chen & Stanley Cohen Center Hill, Copake, NY Albert & Linda Eskenazi, Montreal, CA Barbel & Peter Starz, Toulouse, FR Clarissa & Jean Kueller, Rio de Janeiro, Brazil Mr. & Mrs. Andre Keller, K L, MY & Geneva, Switzerland Shirley Greitzer, Esq. Washington DC Mark Meltzer, Los Angeles & Palm Springs, CA Joel & Fran Soroka, Aspen, Colorado Estate of Hella and Carl Ossenberg, NYC & Palm Beach, FL Estate of Gabriel Laderman, New York, NY Stephen Westfall, New York, NY Dr & Mrs Joseph Delisi, Lake Hopatcong, NJ Dr & Mrs Chris Calder & Besty Swan, Menands, NY Carol & Joachim Frank, NY, NY Mark Pettygrove, Los Angeles, CA George A Schulman, Los Angeles, CA Gerald De Silva, Los Angeles, CA Caryl Horn, Port Richmond, CA Joe & Cathy Plumber, Cold Spring, NY Molly Doland, Esq. Washington DC Bethany Beardslee Winham, Rhinebeck, NY David Fox & Associates, Inc. Briarcliff Manor, NY Eric & Carolyn Egas, Greenviille, NY & Vieques, PR Jin Zeng, New York, NY Selected Solo Exhibitions 2017 “Worldline Schreiber Paintings, plus...," Garvey/Simon Gallery 547 W 27th St, New York, NY 2016 "The Presence of the Invisible Proposition," Koussevitsky Art Gallery, Berkshire Community College, Pittsfield, MA 2012 "Andalusian Shards," The Wall Street Journal Bldg Lobby, New York, NY 2012 "The Plaid Paintings...

Composition. 1973, canvas, synthetic tempera, cold encaustic, 87x64 cm Cubistic composition in red, yellow, green, blue colors

Evan Venegas studied at the San Francisco Art Institute and earned his BFA in Painting in 1998. Evan Venegas creates artwork that lives at the intersection of geometry and atmosphere...

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 Geometric square mixed media painting on panel in colorful shades with aqua, yellow, pink, light green, and red on a background of brown with yellow highlights Big Little #1...

James Minden 51906 Holographic style painting- incised plastic and acrylic on wood panel 18 x 18 inches 2019 To get a sense of the holographic effect look at the video on that vime...

This artwork is a striking example of geometric abstract art, defined by its bold use of color and form. Dominating the composition is a large expanse of vibrant red at the top, whic...

"Everything is Right Now" (2025) is an original, handmade oil painting on canvas, by Amy Hutcheson, that depicts an abstract painting with colorful geometric shapes in a paler rainbo...

This large-scale painting, executed on an 8 x 4 ft plywood panel, merges the unpredictable, organic marks of pyrographywith with the ethereal softness of airbrushed paint. A meticulo...

This painting is a small framed early work by Heather Hartman. The majority of the canvas is overcast with ivory and grey cloud cover. In the lover left-hand quadrant of the painting...

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

“Structure Series #2” Version 2 2020 Acrylic, oil and chalk on canvas 14 x 24 x x .625 inches Robert Petrick's paintings create a link between the street culture of the East Villag...

Working within the constraints of unyielding ninety-degree angles, Brindle applies color with a Fauvist abandon, creating works with an otherworldly presence.

John Pearson (American born 1940) "Study for Circus" 1985 Acrylic on canvas painting Hand signed verso, hangs from corner of canvas. Provenance: The New Gallery of Contemporary Art, Cleveland, Ohio. Bearing label verso: Dimensions: 19 x 19 in (it hangs in diamond shape which measures point to point 26.87 X 26.87 inches) Red, White, Blue, and Yellow abstract geometric painting. Circle and ellipse. John Pearson (British, 1940-was born in Yorkshire, England, and studied at the Harrogate School of Art, Yorkshire (National Diploma of Design, 1960), the Royal Academy Schools, London (Certificate, R.A.S 1963), the Akademie der Bildenden Kunst, Munich (1963–64, research fellow), and Northern Illinois University (M.F.A. 1966). He is known for hard edged, mod abstract oil painting on shaped canvas in geometric, curvilinear forms. For many years, Pearson has made paintings and low-relief sculpture, predominantly wall pieces, which use color, form, and various degrees of abstraction to modify the space of entire rooms. With work exhibited nationally and internationally in both solo and group shows, Pearson has also been sought for many site-specific commissions, both public and private. These are typically highly abstract, simplified, and nuanced; they’re often witty, too. Pearson early on became a devotee of the Dutch artist Piet Mondrian, a chief proponent of De Stijl (The Style), Pearson’s style has evolved from intense system-based abstract compositions to one more attuned to the spiritual influences of the natural environment. Pearson’s early style reflects the European reaction to expressionism and artistic emotionalism in the form of a rational, systematic approach to art (often called the “New Tendency”). An heir to the tenets of Constructivism, he investigated color within a predetermined linear or grid system that eliminated options after the artist’s initial choices. He was drawn to Cleveland in 1970 because of its reputation at the time for having a rich environment for abstract art, as two of the chief proponents of Kinetic art and op art, Julian Stanczak and Richard Anuszkeiwicz, worked there. Students of Josef Albers, the grand master of color theory who taught these two primary practitioners of the “Color Function” school of abstract art at Yale in the 1950s. Pearson’s early style reflects a European reaction to abstract expressionism that manifested itself in a rational, systematic approach to art.Since his emergence in 1960s London, John Pearson has been using mathematical systems and computer programs to generate hard-edged geometric compositions. His work is of the same genre as the artists of the Denise Rene Gallery in Paris, similar to Vasarely, Agam, Cruz Diez and Soto. His most recent work, with its circles and ellipses superimposed on patterns of wavy lines, brings a more easygoing approach to his particular breed of rule-based art. Pearson has received grants from the National Endowment for the Arts and the Canada Council, and has had solo exhibitions at institutions including the Akron Art Museum, the Cleveland Center for Contemporary Art, and the Museum of Modern Art in Rijeka, Croatia. Pearson was born in Yorkshire (Britain) and studied art at the Royal Academy Schools in London, did advanced work in Munich (Germany), and earned the M.F.A. (Master of Fine Arts) degree from Northern Illinois University. Before arriving to teach at Oberlin College in 1972, he taught at the University of New Mexico, the Nova Scotia College of Art and Design, and the Cleveland Institute of Art. At Oberlin, he served as the Young-Hunter Professor of Art. John retired from teaching in 2014 but still occasionally works with students and lives in Oberlin where he educated several generations of appreciative liberal arts students. He also served as department chair and held the Young-Hunter endowed professorship from 1987 onward, until his retirement. Pearson travelled widely to paint, exhibit, and teach and received support from the Ohio Arts Council and the National Endowment for the Arts, among others. His career received recognition via the Cleveland Arts Prize in 1975, while most recently he was recognized as a Special Honoree by the same organization. His paintings and sculptures are held in many public and private collections in the U.S., Canada, Europe, China, and Japan, as well as by museums, such as the Allen Art Museum (Oberlin), the Cleveland Museum of Art, the Museum of Modern Art (New York), and the Art Institute of Chicago. Hard-Edged Select Group Exhibitions Abstract, Constructive, Concrete Mondrian huis, Amersfoort, Holland Chronologic Planet Art...

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...

Tiffany Lynch Gold Cloud Original Abstract Painting Acrylic Paint on Canvas Canvas Size: H 100cm x W 100cm Sold Unframed Ready to Hang Please note that i...

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

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...

Abstract Composition signed by Jacqueline VERDET (French, 1931-2023) oil painting on canvas, unframed canvas: 36 x 29 inches condition: the work is in overall very sound and good con...

Ces McCully, Australian, b. 1982 Untitled (Altar), 2021 Signed and dated CES '21 on the reverse Oil on canvas 39 1/2 x 31 1/2 inches (100.3 x 80 cm) Unframed Ces McCully (born 1982, Melbourne, Australia) Now based in Southern France, Ces McCully is a contemporary Australian artist, whose work is collected and shown internationally. ​ Rachael McCully's oeuvre includes text based pieces which utilize chance in color relationships, and abstract geometric paintings which often have a meditative effect; both sharing autobiographical elements with a reflection on society, and a minimalist approach. "I dabbled in painting, photography, writing and design over the years," before settling more firmly on painting. Feminist icons Cindy Sherman and Barbara Kruger were amongst her inspirations as she began studying art. However now Rachael McCully-Kerwick is forging her own visual language in the south of France. Ces McCully explores themes of female relationships and identity through minimalistic forms, geometric compositions and repeated tribal motifs. Her work, which moves between text pieces and abstract painting, is collected and shown internationally. In McCully’s typography works, she uses vivid colours to create stylised and geometric typographical pieces, divulging secret, and often brutally honest thoughts. Muted-color, cloth-like ‘Patchwork’; geometric and linear works including ‘Mono’ and ‘Shape’; and three-dimensional Cubes with bold colors which brighten up the space. More recently however, we have seen McCully embrace the folk art like characteristics of her work, incorporating religious iconography and human figures into her paintings. Her works are held in private collections internationally and has been shown within Europe and Australia. Mccully has had her work on display in the Louis Vuitton flagship store, Sydney CBD. SELECT SOLO EXHIBITIONS 2022 More Than This, Breach, Miami, USA 2021 Strange Like Me, PIERMARQ*, Sydney, Australia 2019 A Cure for Melancholy, Galerie 42B, France 2017 Beyond the Blablabla Sky, Galerie Rompone, Germany SELECTED GROUP EXHIBITIONS 2022 PINK, PIERMARQ*, Sydney, Australia (with new work by Maximilian Daniels, Gabriele Herzog, Ces McCully, Galina Munroe, Rob Tucker, Andrew Salgado and Spencer Shakespeare). 2019 Bluerider Art Gallery, Taiwan Delphian X Guts Gallery, London, UK (Douglas Cantor, Florence Hutchings, Geoffrey Bohm, Igor Moritz...

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...

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 Acrylic Painting on Canvas Canvas size: 36" x 48" Condition: The stretched canvas was custom built by the artist himself. In mint condition Biography: Jack Graves III is an American artist, born in 1988 in Jacksonville, Florida. He grew up surrounded by inspiration having an art dealer as a father, John Graves Jr., who founded 'The Collector's Exchange' in St. Augustine, FL in 1978, (today Graves International Art...

Title: Mid Century French Geometric Abstract in Red and Violet Gouache on Paper by Serge Guerin (b. 1916), French signed and dated lower right “Serge Guerin 70” Ink and gouache on pa...

Untitled #SP-223, by Murray Duncan Mixed media on paper Size: 32" x 40” Unframed, signed A bold mixed-media work with dynamic lines and textures. This captivating piece by Murray ...

Sergio Nates Blue Background, 2013 Acrylic on canvas 21.75 x 21.75 inches This one-of-a-kind acrylic painting on canvas is stretched across wooden stretcher bars.

Abstract Painting. Geometric style. Oils on canvas. About the Artist: I work in a style I call Geometric Surrealism, abstracting physical ...

Space Series 1 [2022] original Acrylic on Canvas Image size: H:80 cm x W:60 cm Complete Size of Unframed Work: H:80 cm x W:60 cm x D:3cm Frame Size: H:84 cm x W:64 cm x D:5cm Sold F...

Charles Arnoldi, is an American painter, sculptor and printmaker. He was born April 10, 1946 in Dayton, Ohio. Charles Arnoldi has been described as an artist who “draws in space” to...

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...

Artist: Mark Lewis Title: Shoot the Moon 4 Year: circa 1980 Medium: Acrylic on Canvas, signed l.r. Size: 48 x 72 in. (121.92 x 182.88 cm) Frame Size: 51...

Abstract Composition signed by Jacqueline VERDET (French, 1931-2023) oil painting on canvas, unframed canvas: 39 x 31.5 inches condition: the work is in overall very sound and good c...

Oil on canvas, signed lower right.

"Crimson cardinal red pill" is one of the 30 small tondo paintings on wood comprising the Dopamine mosaic. This 30-piece ensemble was created between January ...

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...

Paolo Minoli (1942-2004) ...On Stage... 1987 Acrylic on Canvas Size 70x70 cm - thickness 3 cm Bibliography: Pirovano, Paolo Minoli, General Catalog, volume 2...

This is a one of a kind original oil and resin painting by San Diego artist, Julia San Roman. Its dimensions are 10"x10"x1.5". It is unframed. A certificate of authenticity will foll...

Artist: M. Morgenstern Title: Prism Tondo Year: circa 1970 Medium: Oil on Canvas, signed verso Size: 38 inch diameter

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...

"Cascadia 6" explores the assimilation of aerosol painting, pyrography and sanding techniques on wood. The artist engages her work with notions of repetition, mark-making and blur de...

Detroit, Michigan's skyline is represented in this original watercolor by Detroit artist Aris Nichols. Featured is the Renaissance Center, which was built by Ford, later occupied by...

"Fandango pink pill" is one of the 30 small tondo paintings on wood comprising the Dopamine mosaic. This 30-piece ensemble was created between January and April 2024 by the artist us...

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...

A modern abstract geometric oil painting by American female artist Irene Zevon who lived and worked in the Chelsea Hotel in the 1950's and 1960's.

"Great white Shark grey pill" is one of the 30 small tondo paintings on wood comprising the Dopamine mosaic. This 30-piece ensemble was created between January and April 2024 by the ...

Title: Abraçada means "hug" in Catalan. "The constant search for matter with its limitations has led me to work with different elements throughout my career, but it is now with cem...

Abstract Composition signed initials by Jacqueline VERDET (French, 1931-2023) oil painting on canvas, unframed stamped verso canvas: 36 x 28.75 inches condition: the work is in overa...

This wooden wall sculpture features hues of navy, turquoise and yellow. Nancy is inspired by the works of Carmen Herrera, Deborah Zlotzky and Grazia Varisco...

Paul Brach (American, 1924-2007). Cluster #3 Acrylic on canvas with collage metal stars on it. Paul Henry Brach, (born March 13, 1924 in New York City - d.November 16, 2007 in Easthampton, New York) was an American abstract painter and a lecturer and educator. As an abstract painter Paul Brach exhibited his work in New York with the Leo Castelli Gallery, the Cordier & Eckstrom Gallery, and with the André Emmerich Gallery and then later with Flomenhaft Gallery. Paul Brach's estate is represented exclusively by Eric Firestone Gallery. Paul Brach was born in New York City and was raised in Brooklyn and the Bronx. He went to the University of Iowa where he studied painting with Grant Wood. He served in the US Army during World War II. After the war, he finished school in Iowa on the GI Bill. At the University of Iowa he met the artist Miriam Schapiro and in 1946 they married. By 1951 they moved back to New York City and befriended many of the artists in the downtown Abstract expressionist New York School, including Joan Mitchell, Larry Rivers, Knox Martin and Michael Goldberg. He was associated with the New York print studio Atelier 17 (Stanley Hayter) During the early 1960s Brach had part-time teaching jobs at The New School, Cooper Union, The Parsons School of Design and Cornell University's New York City Program. In 1967 Brach and his wife Miriam Schapiro moved to Southern California. He became the Dean of the CalArts program in Los Angeles in 1969. As dean of the School of Art at the California Institute from 1969 to 1975, Mr. Brach hired John Baldessari, Allan Kaprow and the critic Max Kozloff, among others. He helped to create a freewheeling experimental atmosphere out of which emerged artists like David Salle, Eric Fischl, Barbara Bloom...

"Rays" is an original abstract colorist painting by the renowned artist and filmmaker Victor Atkins. This striking work features geometric strips of vivid color, masterfully arranged...

URBAN BLOCKS Size: 48 x 63.5 cm (including frame) Oil on board A striking mid-century abstract cityscape rendered in a restrained muted palette, executed in oil onto board. The pai...

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...

Acrylic and gloss on panel painting by "blob" artist Mike Hammer.

"Fuchsia pink pill" is one of the 30 small tondo paintings on wood comprising the Dopamine mosaic. This 30-piece ensemble was created between January and April 2024 by the artist usi...

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

Sergio Nates Near River, 2013 Acrylic on canvas 21.75 x 21.75 inches This one-of-a-kind acrylic painting on canvas is stretched across wooden stretcher bars.

That Also Hits the Spot 30.0 x 30.0 x 1.5, 3.0 lbs Acrylic Painting Hand signed by artist Artist's Commentary: "Despite the chaos beneath, playful colors and measured circles can...

4 carrés (Abstract Painting) Pigmented cement on foam panels. Structural and hanging frame on the back. Auville works with construction cement. Applying techniques used in the cons...