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Davis,Stuart

Sweet & Maxwell, Ltd.

Stuart Davis (1892-1964), once described as "the ace of America's Modernists," regarded drawing as central to his art. He believed that all his works were drawings, and developed his images as carefully adjusted black-and-white "configurations" which he translated to "color-space compositions" only at the last stage of his painting procedure. He even retranslated some of his most ambitious and best-known paintings back into large-scale black-and-white drawings on canvas, apparently as a final version of the image. This volume examines, for the first time, the full range of Davis's activity as a draftsman, from his early naturalistic drawings in the manner of the Ashcan School to the economical near-abstractions of his maturity. A broad interpretation of the notion of drawing, in keeping with Davis's own understanding of the term, allows the inclusion of works on paper in a variety of mediums, including watercolors, gouaches, and some late black-and-white drawings on canvas. Included as well are selections from Davis's extensive writings, which contain innumerable references to drawing: attempts to define what constitutes a good drawing, and discussions of the role of drawing in his work and in the formulation of his complex theories of composition. Just as important, Davis's notebooks contain many images, ranging from diagrams that illustrate theory to fully developed, self-sufficient drawings. Karen Wilkin and Lewis C. Kachur, both eminent Davis scholars, draw heavily on his unpublished writings and less well-known images to deepen our understanding of Davis and of American modernism in its formative years.

The Drawings of Stuart Davis: The Amazing Continuity

Arts & Photography

Wilkin, Karen

Kachur, Lewis C.

Collections, Catalogs & Exhibitions

Harry N.Abrams, Inc.

Stuart Davis

Traces the development of the American painter and discusses his place in art history

Fuchs, Rudi H.

Peggy Guggenheim Collection

National Museum of American Art (U.S.)

History & Criticism

Bulfinch Pr

Stuart Davis: Art and Theory, 1920-31

KELDER, Diane

Pierpont Morgan Library

Stuart Davis In Full Swing

Cooper, Harry

Haskell, Barbara Davis

National Gallery of Art; Whitney Museum of American Art; DelMonico Books/Prestel

Stuart Davis and Salander O'Reilly

Chronicle Books LLC.

This is an innovative exploration of cultural heritage and the literary traditions that shape the contemporary literary scene in Spain. Through a coalescence of museum studies, metacriticism and traditional literary criticism thestudy interweaves discussion of museum spaces with literary analysis, exploring them as agents of memorialisation and a means for preserving and conveying heritage. Following introductory explorations of the development of museums and the literary canon, each chapter begins with a ""visit"" to a Spanish museum, establishing the framework for the subsequent discussion of critical practices and texts. Case studies include examination of the palimpsest andunconscious influence of canonical cores; the response to masculine traditions of poetry and art; counter-culture of the 1990s; and the ethical concerns of postmemory writing. STUART DAVIS is a Lecturer in Spanish, Girton College, and Newton Trust Lecturer in the Department of Spanish and Portuguese, University of Cambridge.

Writing and Heritage in Contemporary Spain: The Imaginary Museum of Literature (Monografías A, 309) (Volume 309)

Literature & Fiction

Tamesis Books

A beautifully designed book exposing the influence of Gloucester, Massachusetts on the art of Stuart Davis, a pricipal founder of American abstraction. Printed in conjunction with a traveling exposition of Davis work spanning 3 decades. Features an introduction by Judith McColloch from the the Cape Ann Historical Society and an essay by renowned art critic and scholar Karne Wilkin

Stuart Davis in Gloucester (The Art Profile Series)

Hard Pr Inc

When Duchamp moved from Paris to New York in 1915, he was disappointed by the predominantly nature-based abstraction he observed, publicly proclaiming that American artists were too dependent on outmoded European traditions and had overlooked their greatest subjects--the skyscraper and the machine. Meanwhile, the artists associated with Alfred Stieglitz and his "291" gallery remained loyal to their belief in nature as a source of ongoing renewal for visual culture, and emphasized the crucial role that intuition and spirituality played in their creation of art. The crossfire between Duchamp and Stieglitz and their respective circles defined a critical moment in early twentieth-century American art. Debating Modernism includes reproductions of work by artists from both camps, from Charles Demuth, Georgia O'Keeffe, and Paul Strand to Man Ray, Francis Picabia, and Marsden Hartley. An essay by curator Debra Bricker Balken traces the threads of the debate through the 1910s and 20s, and also addresses the appearance of sexualized imagery in nearly all of these artists' works, a phenomenon that ironically unifies the two seemingly opposed camps. Jay Bochner's essay focuses on the artists' respective violations of American expectations about art.

Debating American Modernism: Stieglitz, Duchamp, and the New York Avant-Garde

WEBER, MAX

Balken, Debra Bricker

Stella, Joseph

Wood, Beatrice

Dove, Arthur

Bochner, Jay

Demuth, Charles

De Zayas, Marius

Covert, John

Crotti, Jean

Schamberg, Morton

Sheeler, Charles

Stettheimer, Florine

Storrs, John

D.A.P./American Federation of Arts

A prosodic template in historical change: The passage of the Latin second conjugation into Romance (Linguistica)

Rosenberg & Sellier

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