The National Academy Museum and School of Fine Arts
New York, NY
Stuart Davis in Gloucester
May 3 - July 30, 2000
Approximately 45 paintings and watercolors of Gloucester, on Cape Ann in Massachusetts, a source of inspiration for Davis from 1915 to 1934, will be on view at the Academy through July 30, 2000. Davis, at the suggestion of fellow artist John Sloan took up summer residence there, and over time, "wandered over the rocks, moors, and docks, with a sketching easel, large canvas, and pack on my back, looking for things to paint." According to Judith McCulloch, Director of the Cape Ann Historical Association, "in Gloucester, Davis and others found a wealth of imagery and communal support to develop their personal visions and styles." (left: Stuart Davis, The Morning Walk (Harbor View), 1919, oil on canvas, 24 x 30 inches, Courtesy of Salander O'Reilly Galleries)
Though Stuart Davis (1894-1964) began to mature as a realist painter while studying with Robert Henri and through his association with John Sloan, the Armory Show of 1913 remains the greatest single influence on his work. There as a participant, Davis came under the influence of European movements such as Fauvism, Cubism, and Post-Impressionism, all which were also on view. Profoundly influenced by these examples of European modernism, Davis increasingly adopted broader, flatter, forms in his work, and began to use color in an intense new way. By 1920, as Davis's interest in modernist theory intensified, so too did his use of "heads on" views featuring frontal and flattened out forms. At a time when Americans were still reeling from the Armory's progressivism, and during the early stages of American regionalism, Davis' Cape Ann landscapes represent an important and innovative step towards the acceptance of modernism within the United States. (left: Stuart Davis, Two Figures, Gloucester Road,1919, oil on canvas, 24 x 30 inches, Courtesy of Salander O'Reilly Galleries)
The accompanying fully illustrated catalogue is edited by Karen Wilkin, Davis scholar and exhibition curator. Major support for this exhibition is provided by The Henry Luce Foundation.
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This page was originally published in Resource Library Magazine. Please see Resource Library's Overview section for more information. rev. 2/28/11
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