Even at its most abstract, the work of Stuart Davis greets the viewer with the accessible demeanor of a populist. Hidden in the complexity of his compositions, there lives a rare art. One collaged together by shorthand truths. The kind of art capable of meaningfully transposing the shared awareness of a changing America. By simplifying the contours of everyday items, like gas pumps and road signs, Davis sketched the foreground of ordinary people's lives. He gave dignity and direction to the vantage point of midcentury Americans navigating the evermore unfamiliar and artificial landscape they had come to inhabit.

  • Stuart Davis (1892-1964) Memo No. 2, 1956 Signed at lower right: Stuart Davis; signed and inscribed on original stretcher at...
    Stuart Davis (1892-1964)
    Memo No. 2, 1956
    Signed at lower right: Stuart Davis; signed and inscribed on original stretcher at upper right (now lost): Stuart Davis / 15 W. 67 St. / N.Y.C. 23
    Oil on canvas
    24 x 32 inches
    61 x 81.3 cm
  • Stuart Davis was a pioneering modernist whose career spanned American art's shift from early 20th-century realism to the cool abstractions of the 1950s. Born in Philadelphia and raised in East Orange, New Jersey, Davis studied under Robert Henri, teacher of the Ashcan School, inspiring his early focus on urban life and social realism. The 1913 Armory Show introduced Davis to European modernism, sparking a transformation influenced by artists like Matisse and Picasso. By the late 1920s, Davis began incorporating abstraction, vibrant color, and elements of American consumer culture, culminating in his iconic "eggbeater" series. His style drew from Cubism and Precisionism, translating industrial objects into rhythmic, jazz-inspired compositions. His work reflected a deep engagement with contemporary culture, blending visual art with the improvisational energy of jazz music. Davis contributed to the Federal Art Project during the Great Depression and taught at institutions like the Art Students League and Yale University. His innovative use of line, color, and consumer imagery anticipated movements like Pop Art, influencing artists from Roy Lichtenstein to Keith Haring. Davis's work is held in major collections, including the Museum of Modern Art and the Whitney Museum of American Art.

    • Stuart Davis (1892-1964) Gloucester Sunset, 1955 Signed at lower center: Stuart Davis Gouache and pencil on paper 12⅛ x 17½ inches 30.8 x 44.5 cm
      Stuart Davis (1892-1964)
      Gloucester Sunset, 1955
      Signed at lower center: Stuart Davis
      Gouache and pencil on paper
      12⅛ x 17½ inches
      30.8 x 44.5 cm
       
    • Stuart Davis (1892-1964) Detail Study for "Cliché", 1955 Signed at lower center: Stuart Davis Gouache on paper 12¾ x 15 inches 32.4 x 38.1 cm
      Stuart Davis (1892-1964)
      Detail Study for "Cliché", 1955
      Signed at lower center: Stuart Davis
      Gouache on paper
      12¾ x 15 inches
      32.4 x 38.1 cm
  • Stuart Davis (1892-1964) Fortap, 1933 Signed at lower center: STUART DAVIS Oil on panel 12 x 16 inches 30.5 x...
    Stuart Davis (1892-1964)
    Fortap, 1933
    Signed at lower center: STUART DAVIS
    Oil on panel
    12 x 16 inches
    30.5 x 40.6 cm
     

    Painted in 1933, Fortap highlights the iconography of harbor life through two separate scenes connected by dangling rope. On the left, a busy assortment of nautical images includes a shed, dock, wheelhouse, and rigging, and on the right, the beacon light stands alone. Davis uses a divided structure to explore formal concerns, offering two scenes with two perspectives inspired by Cubism.

  • For additional information about Stuart Davis or any of the works presented, please be in touch with Alana Ricca at alana@schoelkopfgallery.com or (212) 879 - 8815