Brooks Burns is a New York City-based artist. His hard edge geometric paintings celebrate line, form and color. His geometric compositions are Minimalist-inspired, but his bold use of color makes them feel anything but pared down.
Discover all artworks by Tamas Konok (Hungarian, 1930) on MutualArt along with auctions, exhibitions and articles featuring the artist.
Frederick Hammersley (1919-2009) | Side Door | 1980s,
Side Door
View Fractions #17 (1960) By Hammersley Frederick; Oil on canvas; Canvas: 18.125 x 12.125; Frame: 19.25 x 13.25; Signed; . Access more artwork lots and estimated & realized auction prices on MutualArt.
Canadian Artist (b. 1986) giving way to harmony of shape, colour and form.
Title: CONSTRUCTION # 5 Dimensions: 1280 x 1280 px Technique: Digital Art Year: 2022 Artist: Felipe De Vicente ©
Ad Reinhardt, How to Look at Low (Surrealist) Art, 1946, page from PM 3 (March 24, 1946). IT'S EASY, following his own strategies of reduction, to think of Ad Reinhardt…
Broken forms in blue by Arcangelo Ianelli. Artwork Type: Print; Medium: Color lithograph;
Adolfo Estrada.
Visit the post for more.
Arthur is a digital museum.
Patrick Heron in his Cornwall home, photo-George Wright Photography Patrick Heron Patrick Heron's Cornwall...
TELA GEOMÉTRICA 90X90cm
Revista mais antiga de moda em atividade no mundo, a Harper's Bazaar Brasil aposta no melhor da moda, beleza, cultura, lifestyle e luxo com curadoria afiada, com personagens que celebram a diversidade e o novo. Está no Brasil desde 2011 via Carta Editorial.
Steve Fortier contemporary Canadian visual artist Hard Edged Geometric abstraction paintings
Discover the work of Israeli artist Jessica Moritz, specializing in geometric art and abstract painting. Explore bold, innovative creations from her Tel Aviv studio.
In March 1976, two months after starting work at LACMA, I read the Los Angeles Times obituary of John McLaughlin, an artist whose work had been unfamiliar to me before I moved from New York to L.A. My interest had been piqued by a recent acquisition, McLaughlin’s #5 (1974), which was then hanging in the modern galleries at the museum. I was drawn to the startlingly simple
