Stuart Davis (painter)

{{Infobox artist

| name = Stuart Davis

| image = Archives of American Art - Stuart Davis - 2053 (cropped).jpg

| image_size =

| caption = Davis at work, 1939

| birth_name =Edward Stuart Davis

| birth_date = {{birth date|1892|12|7}}

| birth_place = Philadelphia, Pennsylvania, US

| death_date = {{death date and age|1964|6|24|1892|12|7}}

| death_place = New York City, US

| known_for =

| training =

| movement = American modernism

| notable_works =

| patrons =

| awards =

}}

Edward Stuart Davis (December 7, 1892 – June 24, 1964) was an early American modernist painter. He was well known for his jazz-influenced, proto-pop art paintings of the 1940s and 1950s, bold, brash, and colorful, as well as his Ashcan School pictures in the early years of the 20th century. With the belief that his work could influence the sociopolitical environment of America, Davis' political message was apparent in all of his pieces from the most abstract to the clearest.Patterson, J. (2009). Stuart Davis's painting and politics in the 1930s. The Burlington Magazine, 151465–468. Contrary to most modernist artists, Davis was aware of his political objectives and allegiances and did not waver in loyalty via artwork during the course of his career.{{Cite book |last=Stokes Sims |first=Lowery |title=Stuart Davis American Painter |publisher=The Metropolitan Museum of Art |year=1991 |isbn=978-0870996283 |location=New York |pages=17, 18, 20, 24, 26}} By the 1930s, Davis was already a famous American painter, but that did not save him from feeling the negative effects of the Great Depression, which led to his being one of the first artists to apply for the Federal Art Project. Under the project, Davis created some seemingly Marxist works; however, he was too independent to fully support Marxist ideals and philosophies.

Life and career

Davis was born Edward Stuart Davis on December 7, 1892, in Philadelphia to Edward Wyatt Davis, art editor of The Philadelphia Press, and Helen Stuart Davis, sculptor.Passantino, p 441 In 1909 he entered the Orange High School, but during his first year he dropped out and began commuting to New York City.{{cite web|title=Stuart Davis|url=https://www.theartstory.org/artist/davis-stuart/|access-date=27 July 2022}} Davis began his formal art training under Robert Henri, the leader of the Ashcan School, at the Robert Henri School of Art in New York under 1912.Cooper, Philip. Cubism. London: Phaidon, 1995, p. 120. {{ISBN|0714832502}} During this time, Davis befriended painters John Sloan, Glenn Coleman and Henry Glintenkamp.{{Cite book |last=Wilken |first=Karen |title=Stuart Davis |publisher=Abbeville Press Publishers |year=1987 |isbn=0-89659-755-5 |edition=1st |location=New York |page=229}}

In 1913, Davis was one of the youngest painters to exhibit in the Armory Show, where he displayed five watercolor paintings in the Ashcan school style.Cécile Whiting, "Stuart Davis", Oxford Art Online{{sfn|Boyajian|Rutkoski|2007|pp=39–40}}

In the show, Davis was exposed to the works of a number of artists including Vincent van Gogh, Henri Matisse, and Pablo Picasso. Davis became a committed "modern" artist and a major exponent of cubism and modernism in America. He spent summers painting in Gloucester, Massachusetts, and made painting trips to Havana in 1918 and New Mexico in 1923.

After spending several years emulating artists in the Armory Show, Davis started moving toward a signature style with his 1919 Self-Portrait, in the collection of the Amon Carter Museum of American Art.{{Cite book |last=Art. |first=Amon Carter Museum of Western |title=An American collection : works from the Amon Carter Museum |date=2001 |publisher=Hudson Hills Press in association with the Amon Carter Museum |others=Junker, Patricia A., Gillham, Will. |isbn=1555951988 |edition=1st |location=New York |page=188 |oclc=46641783}} In the 1920s he began his development into his mature style; painting abstract still lifes and landscapes. His use of contemporary subject matter such as cigarette packages and spark plug advertisements suggests a proto-pop art element to his work.{{Cite book |last=Hills |first=Patricia |url=https://archive.org/details/stuartdavis00hill/page/58 |title=Stuart Davis |date=1996 |publisher=Harry N. Abrams, Inc. |isbn=0-8109-3219-9 |location=New York, NY |page=[https://archive.org/details/stuartdavis00hill/page/58 58] |url-access=registration}} Among Davis' practices was his use of previous paintings.

Elements of harbor scenes he painted in Gloucester, Massachusetts can be found in a number of subsequent works. Another practice was painting series, works with similar structures, but with altered colors or added geometric embellishments, essentially creating variations on a theme. Some commentators suggest that this aspect of his work parallels his love of jazz in which a basic chord structure is improvised upon by the musicians.

In 1928, he visited Paris, France for a year, where he painted street scenes. In 1929, while in Paris, he married his American girlfriend, Bessie Chosak.{{Cite web |title=Stuart Davis (1892–1964) – AMERICAN ABSTRACT PAINTER |url=http://sullivangoss.com/Stuart_Davis/ |access-date=April 23, 2018 |website=sullivangoss.com}} In the 1930s, he became increasingly politically engaged; according to Cécile Whiting, Davis' goal was to "reconcile abstract art with Marxism and modern industrial society". In 1934 he joined the Artists' Union; he was later elected its president. In 1936 the American Artists' Congress elected him National Secretary. He painted murals for Federal Art Project of the Works Progress Administration that are influenced by his love of jazz.

Image:Stuart_Davis_detail_study_for_Cliche.jpg

In 1932 Davis was devastated by the loss of his wife, Bessie Chosak Davis, who died after complications from a botched abortion.{{Cite magazine |last=Schjeldahl |first=Peter |date=June 13, 2016 |title=Stuart Davis, Modern Man |url=https://www.newyorker.com/magazine/2016/06/20/stuart-davis-modern-man |access-date=April 23, 2018 |magazine=The New Yorker}} Also in 1932, Davis executed a mural commission for Radio City Music Hall which the Rockefeller Center Art Committee named "Men Without Women" (after Ernest Hemingway's second collection of short stories completed the same year). According to Hilton Kramer in a 1975 piece on the work in the New York Times, Davis was happy neither with the location in which the mural was placed nor with the title it was given.Kramer, Hilton. (April 13, 1975). [https://www.nytimes.com/1975/04/13/archives/art-view-is-a-museum-the-only-place-for-art.html Art view]. The New York Times.

{{cite web |url=https://www.rockefellercenter.com/blog/2016/08/30/stuart-davis-whitney/ |title=Stuart Davis at the Whitney {{!}} Front & Center at Rockefeller Center |website=www.rockefellercenter.com |url-status=dead |archive-url=https://web.archive.org/web/20200301135408/https://www.rockefellercenter.com/blog/2016/08/30/stuart-davis-whitney/ |archive-date=2020-03-01}}

In 1938, Davis painted Swing Landscape, a modernist mural now considered one of the most important American paintings in the 20th century.{{Cite web |title=Swing Landscape: Stuart Davis and the Modernist Mural: Upcoming: Exhibitions: Sidney and Lois Eskenazi Museum of Art: Indiana University Bloomington |url=https://artmuseum.indiana.edu//exhibitions/upcoming/2020-09-03-stuart-davis.html |access-date=2021-11-11 |website=Sidney and Lois Eskenazi Museum of Art |language=en-US}} That same year, Davis married Roselle Springer. Davis spent his late life teaching at the New York School for Social Research and at Yale University.

Along with his paintings, Davis was also a printmaker and was a member of the Society of American Graphic Artists.

From 1945 to 1951, Davis worked on The Mellow Pad, an abstract work inspired by jazz music.{{Cite web |title=The Mellow Pad |url=https://www.brooklynmuseum.org/opencollection/objects/2101 |access-date=September 28, 2020 |website=Brooklyn Museum}}{{Cite web |last=Dobrzynski |first=Judith H. |author-link=Judith H. Dobrzynski |date=May 7, 2011 |title=A Painting That Pulses With a Jazz Feeling |url=https://www.wsj.com/articles/SB10001424052748703834804576301473884844598 |access-date=September 28, 2020 |website=The Wall Street Journal}}

In 1947–52, two works by Davis, For internal use only (1945) and Composition (1863) (c. 1930) were featured in the Painting toward architecture crossover art and design exhibition, in 28 venues.Preece, R. J. (July / August 2017). [https://www.artdesigncafe.com/painting-toward-architecture-miller-co-exhibition Rethinking Painting toward architecture (1947–52)]. Sculpture magazine / artdesigncafe. Retrieved March 22, 2020.

In 1952, Davis received a Guggenheim Fellowship{{Cite web

| url = https://www.gf.org/fellows/stuart-davis/

| title = Stuart Davis - John Simon Guggenheim Memorial Foundation

| website = www.gf.org

| access-date = 2024-05-30

}} for Fine Arts.

He was represented by Edith Gregor Halpert at the Downtown Gallery in New York City.

One of his last paintings, Blips and Ifs, created between 1963 and 1964, is in the collection of the Amon Carter Museum of American Art.{{Cite book |last=Art. |first=Amon Carter Museum of Western |title=An American collection : works from the Amon Carter Museum |date=2001 |publisher=Hudson Hills Press in association with the Amon Carter Museum |others=Junker, Patricia A., Gillham, Will. |isbn=1555951988 |edition=1st |location=New York |pages=266 |oclc=46641783}}

In 1964, the U.S. Postal Service issued a stamp featuring Davis' 'Detail Study for Cliche'.

Davis died of a stroke in New York on June 24, 1964, aged 71.

Mentors

Davis was first professionally trained by Robert Henri, an American realist. Henri began teaching Davis in 1909. Henri did not look highly upon American art institutions at the time, which led to him joining John Sloan and six other anti-institutional artists (known as "the Eight") to put on an exhibit at the Macbeth Gallery in 1908. Through his vocal rejection of academic norms in painting, Henri encouraged Davis and his other students to find new forms and ways to express their art and to draw on their daily lives for inspiration.

Inspirations

Ideologies prevalent during the Progressive Era led to the young Stuart Davis feeling a great sense of pride in being American, which led to his creating several works centered on a "Great America". After his training with Henri, Davis would walk around the streets of New York City for inspiration for his works. His time amongst the public caused him to develop a strong social conscience which was strengthened through his friendship with John Sloan, another anti-institutional artist. Additionally, Davis frequented the 1913 Armory Show (in which he exhibited his work), to further educate himself on modernism and its evolving trends. Davis acquired an appreciation and knowledge of how to implement the formal and color advancements of European modernism, something Henri did not focus on, to his art. In 1925, the Société Anonyme put on an exhibit in New York with several pieces by the French artist Fernand Léger. Davis had a large amount of respect for Léger because like Davis, Léger sought the utmost formal clarity in his work. Davis also appreciated Léger's work for the subject matter: storefronts, billboard and other man-made objects.{{citation needed|date=November 2022}}

Public collections

Among the public collections holding work by Stuart Davis are:

Addison Gallery of American Art (Andover, Massachusetts)
Amon Carter Museum of American Art (Texas)
Art Gallery of the University of Rochester (New York)
Art Institute of Chicago
Block Museum of Art (Northwestern University, Illinois)
Brooklyn Museum (New York City)
Carnegie Museums of Pittsburgh (Pittsburgh, Pennsylvania)
Cleveland Museum of Art
Crystal Bridges Museum of American Art (Arkansas)
Currier Museum of Art (New Hampshire)
Dallas Museum of Art (Texas)
Dayton Art Institute (Ohio)
Fine Arts Museums of San Francisco
Robert Hull Fleming Museum (University of Vermont)
Fred Jones Jr. Museum of Art (University of Oklahoma)
Harvard University Art Museums
Hirshhorn Museum and Sculpture Garden (Washington, D.C.)
Honolulu Museum of Art
the Hyde Collection (Glens Falls, New York)
Indiana University Art Museum (Bloomington, Indiana)
Johnson Museum of Art (Cornell University, Ithaca, New York)
Krannert Art Museum (University of Illinois at Urbana-Champaign, Champaign, Illinois)
Kemper Museum of Contemporary Art (Kansas City, Missouri)
Maier Museum of Art (Randolph-Macon Woman's College, Virginia)
Metropolitan Museum of Art
Mint Museum (Charlotte, NC)
Montclair Art Museum (New Jersey)
Munson-Williams-Proctor Arts Institute (Utica, New York)
Museum of Fine Arts, Houston (Texas)
Museum of Modern Art (New York City)

National Gallery of Australia (Canberra)
National Portrait Gallery (Washington, D.C.)
Nelson-Atkins Museum of Art (Kansas City, Missouri)
Nevada Museum of Art
Norton Museum of Art (West Palm Beach, Florida)
Oklahoma City Museum of Art (Oklahoma)
Orange County Museum of Art (Newport Beach, California)
Palazzo Ruspoli (Rome)
Pennsylvania Academy of the Fine Arts (Philadelphia)
The Phillips Collection (Washington, D.C.)
Pierpont Morgan Library (New York City)
Pomona College Museum of Art (California)
Portland Museum of Art (Maine)
San Diego Museum of Art (California)
San Francisco Museum of Modern Art (San Francisco, California)
Sheldon Art Gallery (Lincoln, Nebraska)
Smithsonian American Art Museum (Washington, D.C.)
Springfield Museum of Art (Ohio)
Tacoma Art Museum (Washington)
Thyssen-Bornemisza Museum (Madrid)
U.S. Library of Congress (Washington, D.C.)
University of Kentucky Art Museum
Virginia Museum of Fine Arts (Richmond)
Wadsworth Atheneum (Hartford)
Walker Art Center (Minnesota)
Westmoreland Museum of American Art (Greensburg, Pennsylvania)
Whitney Museum of American Art (New York City)
Yale University Art Gallery (Connecticut)

Selected works

Image:Davis_garage_no_1.jpg|Garage No. 1, 1917, Hirshhorn Museum and Sculpture Garden, Washington, DC.

Image:Davis_Stuart_Tree_and_Urn_1921.jpg|Tree and Urn, 1921, 30 x 19 inches

Image:Davis_Stuart_Lucky_Strike_1921.jpg|Lucky Strike, 1921, Museum of Modern Art, New York City

Image:Davis steeple street.jpg|Steeple and Street, 1922, Hirshhorn Museum and Sculpture Garden, Washington, DC.

References and sources

;References

;Sources

{{cite book |editor1-last=Boyajian |editor1-first=Ani |editor2-last=Rutkoski |editor2-first=Mark |others=Essays by William C. Agee and Karen Wilkin, Preface by Earl Davis |date=2007 |title=Stuart Davis: A Catalogue Raisonné (3 volumes) |publisher=Yale University Press |isbn=978-0-30010-981-8}})
{{Cite book |last=Lane |first=Grayson Harris |title=The Eye of Duncan Phillips : a collection in the making |date=1999 |publisher=Yale University Press |isbn=0-300-08090-5 |editor-last=Passantino |editor-first=Erika D. |location=New Haven [u.a.] |page=441}}
Lowery Stokes Sims et al., Stuart Davis: American Painter, 333 pages, 129 color illus., The Metropolitan Museum of Art and Harry N. Abrams, Inc. 1991.
Karen Wilkin 1999 - Stuart Davis in Gloucester ({{ISBN|1-889097-34-9}})

External links

[http://www.askart.com/AskART/artists/search/Search_Repeat.aspx?searchtype=IMAGES&artist=30027 Stuart Davis Artwork Examples on AskART.]
[http://www.ibiblio.org/wm/paint/auth/davis/ Stuart Davis Artwork Examples on ibiblio's WebMuseum.]
[https://web.archive.org/web/20100929091843/http://www.comradesinart.net/comrades_flv/Stuart_Davis/index.html Comrades in Art]: Stuart Davis
[http://www.indiana.edu/~iuam/online_modules/picturing_america/resources.php?info=9: Stuart Davis' Swing Landscape]
[http://whitney.org/Exhibitions/StuartDavis "STUART DAVIS: IN FULL SWING" retrospective at the Whitney Museum June 10 – Sept 25 2016],
[http://www.cartermuseum.org/imu/acm/#details=ecatalogue.89137 Blips and Ifs (1963–1964), a painting in the collection of the Amon Carter Museum of American Art]
[http://www.cartermuseum.org/imu/acm/#details=ecatalogue.115113 Self-Portrait (1919), a painting in the collection of the Amon Carter Museum of American Art]