Fine Art: Stuart Davis: Pictures posted to alt.binaries.pictures.misc

[Walter Michael Sumper]

During the next days I will post 12 high-resolution jpegs of works of
Stuart Davis to alt.binaries.pictures.misc:

WATRFRNT.JPG 514 401 170 140
VISA.JPG 115 401 168 139
SAN_PAO.JPG 661 215 132 178
ROCKPORT.JPG 485 230 165 148
RAPT.JPG 346 213 128 183
PERK.JPG 204 215 131 178
MELLOW.JPG 5 243 188 123
G_AND_W.JPG 678 3 113 205
EGGBEAT.JPG 485 36 175 138
EDISON.JPG 340 11 127 188
COLONIAL.JPG 152 35 170 141
BLIPS.JPG 9 12 125 187

You can download these pictures and more fine art from:
<http://lonestar.texas.net/~mharden/ftp_site.htm>
(Mark Hardens Fine Art Site at Texas, US)

or from David Fox's Mirror at Ney York University:
<http://www.cat.nyu.edu/fox/art/>

ABOUT THE ARTIST:

He grew up in an artistic environment, for his father was art director of a
Philadelphia newspaper, who had employed Luks,
Glackens, and other members of the Eight. He studied with Robert Henri 1910-13,
made covers and drawings for the social realist
periodical The Masses, which was associated with the Ash-can School, and
exhibited watercolors in the Armory Show, which made
an overwhelming impact on him. After a visit to Paris in 1928-29 he introduced a
new note into US Cubism, basing himself on its
Synthetic rather than its Analytical phase. Using natural forms, particularly
forms suggesting the characteristic environment of
American life, he rearranged them into flat poster-like patterns with precise
outlines and sharply contrasting colors (House and
Street, Whitney Museum, New York, 1931).

He later went over to pure abstract patterns, into which he often introduced
lettering, suggestions of advertisements, posters, etc.
(Owh! in San Pao, Whitney Museum, 1951). The zest and dynamism of such works
reflect his interest in jazz. Davis is generally
considered to be the outstanding American artist to work in a Cubist idiom. He
made witty and original use of it and created a
distinctive American style, for however abstract his works became he always
claimed that every image he used had its source in
observed reality: `I paint what I see in America, in other words I paint the
American Scene.'

--- DESCRIPTION OF POSTED PICTURES ---

DAVIS, Stuart
New York Waterfront
1938
Oil on canvas
22 x 30 1/4 in. (56 x 77 cm)
Albright-Knox Art Gallery, Buffalo, NY

DAVIS, Stuart
Blips and Ifs
1963-64
Oil on canvas
71 1/8 x 53 1/8 in.
Amon Carter Museum, Ft. Worth, Texas

DAVIS, Stuart
Colonial Cubism
1954
Oil on canvas
44 7/8 x 60 1/8 in.
Walker Art Center, Minneapolis, Minnesota

DAVIS, Stuart
Edison Mazda
1924
Oil on canvas
24 1/2 x 18 5/8 in.
Metropolitan Museum of Art, New York

DAVIS, Stuart
Egg Beater No. 4
1928
Oil on canvas
27 x 38 1/8 in.
The Phillips Collection, Washington, D.C.

DAVIS, Stuart
G & W
1944
Oil on canvas
18 3/4 x 11 5/8 in.
Hirshhorn Museum, Washington, D.C.

DAVIS, Stuart
The Mellow Pad
1945-51
Oil on canvas
26 x 42 in.
Brooklyn Museum, New York

DAVIS, Stuart
Percolator
1927
Oil on canvas
36 x 29 in.
Metropolitan Museum of Art, New York

DAVIS, Stuart
Rapt at Rappaport's
1952
Oil on canvas
52 x 40 in.
Hirshhorn Museum, Washington, D.C.

DAVIS, Stuart
Report from Rockport
1940
Oil on canvas
24 x 30 in.
Collection Mr. and Mrs. Milton Lowenthal, New York

DAVIS, Stuart
Owh! in San Pao
1951
Oil on canvas
52 1/4 x 41 3/4 in.
Whitney Museum of American Art, New York

DAVIS, Stuart
Visa
1951
Oil on canvas
40 x 52 in.
The Museum of Modern Art, New York

repmus leahcim retlaw
"This is not a bug, it's a feature :-)"
Walter Michael Sumper mailto:sum...@vops2.avl.co.at