Abstract Geometric Paintings

Bart Koning & Lydia Mammes Another Untitled Painting 180 x 185 cm Oil on linen This unique piece of an abstract blue painting leaning against the wall is made by German artist real...

Robert Glick (American, born 1950) "Day at the Coast" 2023 Acrylic Paint, Canvas, Stretcher Bars The artist signed the middle left of the painting. "Day ...

Artist: Warren Wolf, American (1924 - 2003) Title: Zebuwl 2 Year: 1990 Medium: Oil and Marble Dust on Shaped Masonite, signed, titled and dated verso Size: 34 in. x 31 in. (86.36 cm...

Original portrait painting by the German artist Ljubow Jung. Jung is a professional artist and clothes designer. Imitation of stained glass windows. Stained glass windows are made o...

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

"Robin egg blue 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 u...

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...

Jacques Laurent Geometric Abstract Composition Circa 2025 Mixed media and vintage paper collage Signed lower right and stamped lower left Presented in a vintage French frame A strik...

Colourful abstract geometric acrylic painting on canvas. The artwork is called 'Number 16'

Black nylon over panel keywords; use of common materials, assemblage, abstract sculpture, wall-sculpture, process-oriented, abstract art, line, form and color, black, monochrome scu...

Untitled: Abstract Geometric Acrylic Painting on Paper 2019 Bernardo Navarro Tomas 26 x 34 in This 2019 geometric acrylic painting on paper by Cuban...

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...

Transcromático by Juan Carlos Amador showcases abstract canvases that use thick, layered paint to evoke the fluidity and light of water sports, rather than literal representation. By...

Barber Schaumann is a contemporary artist known for her vibrant, abstract interpretations of the female form. Her work combines bold colors with modern, geometric shapes, blending el...

Over the past few years Steven Baris Has been fascinated by the rapid proliferation of fulfillment and distribution centers, sprouting like mushrooms throughout metropolitan regions....

Charles Green Shaw Harvard vs. Yale, 1944 Signed and dated on the reverse Oil on canvasboard 9 x 12 inches Provenance: Harvey and Francois Rambach, New Jersey Private Collection, California Washburn Gallery, New York D. Wigmore Fine Art, New York Private Collection, New York Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...

An unusual shaped relief oil on canvas in original frame by Frederic Karoly,(1898–1987), signed and dated 1963. Frederic Karoly, a painter whose abstract oils are in the collection ...

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...

Connected Curves is a striking and impactful large-format painting created in the 1960s by Domenick Capobianco. The work is part of a catalog of bold, post-modernist pieces by the ar...

"Cinderblock II" is a geometric abstract painting featuring hues of white and orange. Amanda Brazier creates handmade oil paints from locally harvested ...

ABOUT THE ARTWORK “AC 2-2” by artist David Kupferman is a lyrical abstract painting that beautifully combines various elements to explore the idea of u...

Nautic 51.2 x 31.5 x 0.8, 5.5 lbs Acrylic paint Signed by the artist Artist's Commentary: "Original painting on stretched canvas named 'Nautic'. Dimensions: 130cm x 80cm. Art work...

April opus. 2018, canvas, oil, 100x80 cm Abstract cubist composition in earth colors Igor Leontiev (1957) - one of the leading independent painters in L...

GEOMETRIC NEIGHBOURHOOD Size: 40 x 72.5 cm (including frame) Oil on Canvas A playful and brilliantly executed mid-century composition of a neighbourhood, painted in oil onto canvas ...

Grillas by Martín Pelenur, Abstract Blue Grid Painting Geometric Pattern, 2022 Acrylic on Canvas A refined exploration of rhythm and repetition, this work by Martín Pelenur presents...

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...

Iris Kufert-Rivo describes her work... "pattern and repetition of forms is a subject I’ve pursued for decades. This new set of paintings called The Structure Series is inspired by t...

Untitled Geometric Abstraction, an original oil on masonite by Juliette Steele, is a piece for the true collector. Steele's use of color and patterns immediately captivates the viewer, reminding us of works by other pioneer abstractionists, such as Piet Mondrian and Wassily Kandinsky. Steele's puzzle-like, discontinuous sections draw you across and into the work. This masterful original artwork comes with a minimalist frame and would make a great addition to an art collection, enhancing most any home, and perfect for those who have an affinity for abstracts, contemporary paintings, and color-rich works of art. Artist: JULIETTE STEELE (1909-1980) Title: UNTITLED GEOMETRIC ABSTRACTION Medium & Surface: ORIGINAL OIL ON MASONITE (framed) Signed: HAND SIGNED AND DATED BY ARTIST ON VERSO Year Created: CIRCA 1950 Country of Creation: UNITED STATES Image Area Dimensions: 22 x 28 INCHES Frame Dimensions:* 23 x 29 x 1.875 INCHES *This work of art is being sold framed. If you would like to change the frame to better match your style or environment, please contact us for Custom Archival Framing options. Additional Info: HIGHLY COLLECTIBLE WORK BY JULIETTE STEELE IN GREAT CONDITION CONSISTENT WITH AGE. THIS IS AN EXCEPTIONAL EXAMPLE OF THE ARTIST'S STYLE AND TECHNIQUE. THE FRAME IS A MINIMALIST WOOD FRAME WITH VERY MINOR SIGNS OF WEAR CONSISTENT WITH AGE. About the Artist: Juliette Steele, an American artist, was an accomplished printmaker, painter and teacher. Steele was part of the Geometric Abstraction and Abstract Expressionism movements. Her peers included Jackson Pollock, Mark Rothko, Hans Hofmann, Willem de Kooning, Franz Kline, and Clyfford Still. Steele was born in 1909 in Union City, New Jersey. In the late 1920s, she moved to New York to study art and fashion design at the Traphagen School of Design. A decade later, she moved to San Francisco with husband Edward Steele, and earned a Bachelor of Art degree from San Francisco State College. In the 1940s, Steele found inspiration from the new city, and produced a series of lithographs depicting San Francisco landmarks. At the same time, she earned a Master of Fine Arts from Stanford University, and continued her studies at the California School of Fine Arts in San Francisco. Here, she studied with Ray Bertrand and Clay Spohn...

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...

Andra Samelson’s work explores the relationship of microcosm and macrocosm, the celestial and terrestrial. Her imagery is often associated with molecular and galactic systems. Combin...

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...

As is generally the case with my paintings, this work proceeded from a place of unknowing. The specificity of imagery and technique belie the non-specific character of the ideas and narratives presented. The imagery is not tied to any pre-existent source (textual or other). It is not preconceived by the artist, rather it is produced spontaneously in the process of painting. That said, it seems both easy and sensible to connect the imagery in this painting to common cultural material, especially that from very ancient sources. The central figure is very much like a totemic Neolithic goddess- the sort of which seem to be among the most ancient artistic works, examples are extant from eras stretching back tens of thousands of years. A lot has been written about figures of that kind but of course no one can reasonably claim to truly understand them. Here the great goddess appears with wings and entwined serpents. Crowned also with a glowing orb she has become an emblem of a matristic hermetica. The smaller figure may be less evidently archetypical. She is a younger goddess, a daughter like Persephone to Demeter. She lifts the breasts of her mother signifying perhaps how the presence of the child evokes the nurturing qualities of the mother or how Persephone’s seasonal ascent from the underworld awakens in her mother the impulse to again give life to the world. The cluster of gynomorphic figures contained by the crescent moon at the center of the painting refer to the balanced transformations of the lunar cycle and their mysteriously harmonic physical manifestation in the vital cycles of a woman’s body. At their axis is the cycloptical abdomen of the figure enthroned on the moon. The entire totem rises from a terrestrial gateway into an open landscape. In the background megaliths obscure the horizon. They represent a first boundary in time- the beginning of history. Below is the gateway, the opening to an inner earth...

Robert Petrick's paintings connect the lyricism of language with the vibrancy of urban culture, especially the rich milieu around the East Village and Alphabet City. Rendered in colo...

Untitled #SP-218, 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 ...

Abstract, Neha Puri Dhir, patchwork of resist dyed cotton, 37.5” x 73”, 2014 Fiber artist, Neha Puri Dhir (1983, Inda) explains her motives and feelings behind this colorful, geomet...

Super attractive geometric abstraction in a rare to find pastel color palette. Circles is a striking and impactful large-format painting created in the 1960s by Domenick Capobianco. ...

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...

This geometric wall sculpture features purple hues. Atlanta-based artist Mitchell Biggio’s “Fault” is a series of complex three-dimensional wall sculptures that navigate the expans...

Melisa Taylor Metzger’s The Seismology of Cantilevered Hearts 1 transforms a circular tondo plywood panel into a multichromatic composition that blends traditional crafting technique...

Sergio Nates Utopia #6, 2014 Acrylic on canvas 21.75 x 21.75 inches This one-of-a-kind acrylic painting on canvas is stretched across wooden stretcher bars.

"Rift Valley, Sonde 2" is a textural and elemental abstract painting on canvas. It explores the hybridization of chance-derived color-fields with textural topography. Various techniq...

Skipstep (DE) (Abstract Painting) Acrylic on canvas. Unframed. The skipstep and Shadow Boxer paintings grow out of an interest in the paradox of spatial comprehension found in abstract painting. As with the shadow boxing practice in which the athlete spars with his or her own shadow, Bolt finds that the illusory qualities of abstract composition initiate a similar exercise of perception and expectation. Using...

High Frequency/Slow Shift (Abstract Painting) Acrylic on canvas. Unframed. This work is a triptych which focuses on a shallow, mostly monochromatic surface that include bas-relief planes “locked” together against a more “fluid”, painterly background. The dripped surface of that background is only seen through small openings, or gaps between the flat, assembled forms. The tension of overlapping foreground shapes and the contrary background treatment is accentuated by the high-key yellow color that pushes the composition forward toward the viewer. It creates a drama that might not readily be associated with such a shallow space that includes subtle shifts and provides a perceptual twist that has a kind of electric visual charge. Macyn Bolt is an American abstract painter. Using a visual language informed by geometric abstraction, he creates artworks that examine how color and form create shifts in visual perception. He lives and works in Brooklyn, NY, and upstate Pennsylvania. Bolt works with acrylic paint on a variety of surfaces including canvas, wood panel, vinyl and paper. Using scrapers...

Shadow boxer (A.2) (Abstract Painting) Acrylic on canvas. Unframed. The Shadow Boxer and skipstep paintings grow out of an interest in the paradox of spatial comprehension found in abstract painting. As with the shadow boxing practice in which the athlete spars with his or her own shadow, Bolt finds that the illusory qualities of abstract composition initiate a similar exercise of perception and expectation. Using...

"Rift Valley, Sonde 2" is a textural and elemental abstract painting on canvas. It explores the hybridization of chance-derived color-fields with textural topography. Various techniq...

Acrylic on canvas - Unframed The Shadow Boxer and skipstep paintings grow out of an interest in the paradox of spatial comprehension found in abstract painting. As with the shadow ...

Paolo Minoli (1942-2004) R.S.P. (Perspective Space Search) 1969 Acrylic on Canvas Size 40x40 cm (63x63 cm including the frame with invisible glass) Bibliography: Pirovano, Paolo Minoli, General Catalog, volume 1, 1959-1979 Paolo Minoli was born in 1942 in Cantù (Como). He attended, at a very young age, the home of painter Enrico Sottili and, as a student, the studio of sculptor Gaetano Negri. He graduated "Master of Art" in 1961 from the State Art Institute of Cantù, where he taught from 1964 to 1978. Participated in 1968 in the national exhibition for young painters of the "San Fedele" prize in Milan. In 1969 he was featured in the exhibition "Urban Field. Aesthetic Interventions in the Urban Dimension," organized in Como, with a collective intervention on the theme "Signal Color." From 1977 to 1978 he was part of the research group "The Systematic Questioning" with Nato Frascà and Antonio Scaccabarozzi. Since 1979, at the Brera Academy of Fine Arts in Milan, he has taught the special course in "Chromatology" and collaborated, as a consultant, with companies for the application of chromatic solutions in industrial production. He was artistic director of the art series published by the "RS" editions in Como (1975-1986) and, from 1986 to 1989, of the "On Color" silkscreen printing workshop in Cantù, in collaboration with various artists, including Mario Radice, Carla Badiali...

Seymour Fogel Untitled Oil on illustration board construction 10 x 7 1/2 inches Provenance: Estate of the artist Charles and Faith McCracken Larry and Trish Heichel Private Collection Seymour Fogel was born in New York City on August 24, 1911. He studied at the Art Students League and at the National Academy of Design under George Bridgeman and Leon Kroll. When his formal studies were concluded in the early 1930s he served as an assistant to Diego Rivera who was then at work on his controversial Rockefeller Center mural. It was from Rivera that he learned the art of mural painting. Fogel was awarded several mural commissions during the 1930s by both the Works Progress Administration (WPA) and the Treasury Section of Fine Arts, among them his earliest murals at the Abraham Lincoln High School in Brooklyn, New York in 1936, a mural in the WPA Building at the 1939-1940 New York World's Fair, a highly controversial mural at the U.S. Post Office in Safford, Arizona (due to his focus on Apache culture) in 1941 and two murals in what was then the Social Security Building in Washington, D.C., also in 1941. Fogel's artistic circle at this time included Phillip Guston, Ben Shahn, Franz Kline, Rockwell Kent and Willem de Kooning. In 1946 Fogel accepted a teaching position at the University of Texas at Austin and became one of the founding artists of the Texas Modernist Movement. At this time he began to devote himself solely to abstract, non-representational art and executed what many consider to be the very first abstract mural in the State of Texas at the American National Bank in Austin in 1953. He pioneered the use of Ethyl Silicate as a mural medium. Other murals and public works of art done during this time (the late 1940s and 1950s) include the Baptist Student Center at the University of Texas (1949), the Petroleum Club in Houston (1951) and the First Christian Church, also in Houston (1956), whose innovative use of stained glass panels incorporated into the mural won Fogel a Silver Medal from the Architectural League of New York in 1958. Fogel relocated to the Connecticut-New York area in 1959. He continued the Abstract Expressionism he had begun exploring in Texas, and began experimenting with various texturing media for his paintings, the most enduring of which was sand. In 1966 he was awarded a mural at the U.S. Federal Building in Fort Worth, Texas. The work, entitled "The Challenge of Space", was a milestone in his artistic career and ushered in what has been termed the Transcendental/Atavistic period of his art, a style he pursued up to his death in 1984. Painted and raw wood sculpture...

Virus Americanus XII, 2002 oil enamel on canvas 150 x 128 inches

2025 Acrylic on canvas 16 x 16 in. (40.6 x 40.6 cm) Unique Signed and dated, verso

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 ...

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...

Califonia artist, Brandon Neher captivates with his figurative abstract artworks that seamlessly blend German Expressionism and Pop Abstraction. His original paintings on canvas embo...

The illusion of intimacy, 2020, 70x100 cm

Roger Selchow oil on canvas 32x40 inches Signer Verso 1970’s Roger Hoffman Selchow was born in Greenwich, Connecticut, and is best known for his paintings of geometric abstraction...

A Visual Journey: Landscape #6, Original Contemporary Abstract Expressionist Painting, 2022 Reminiscent of the abstract expressionist works of Hans Hoffman, this small-format mixed media painting study by artist Simona Gocan...

2025 Acrylic on canvas 16 x 16 in. (40.6 x 40.6 cm) Unique Signed and dated, verso

Batik technique on cotton Marko Reeboskic is a Serbian artist born in 1964 who lives and works in Belgrade, Serbia. With an architectural background Marko continues his work in diff...

"Viva La France!," 23 Karat Gold Leaf and Oil on Canvas, 32 x 48 Inches, is inspired by the French flag, elegant and whimsical, however it can also be viewed as a pure geometric abs...

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...