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Stuart Davis

Ivy League, 1953

Screenprint in colors (framed)
Bidding closed
About the work
R
Rago

5 3/4" x 6 1/2" (sight)

Literature: Cole-Myers 79Natural Scene, ca. 1955

Screenprint in …

Read more

5 3/4" x 6 1/2" (sight)

Literature: Cole-Myers 79Natural Scene, ca. 1955

Screenprint in colors (framed)

Signed

From an unknown edition size

5 3/4" x 8 1/2" (sight)

Provenance: Private Collection, New Jersey

From an unknown edition size

Signature
Signed
Stuart Davis
American, 1892–1964
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Stuart Davis’s paintings synthesized many of the most prominent movements and styles of 20th-century modernism. Though his early works reveal the influence of Robert Henri and the Ashcan School of American painting, he would later abandon this Realist style in favor of experimentation with Post-Impressionism and Cubism, drawing particular influence from Cézanne and Matisse. Davis developed his own style based on Synthetic Cubism, depicting American commercial products and household implements with a stylized integration of figure and ground and a strong interest in surface quality and perspective. Later in his career, Davis would explore the urban confluence of technology, architecture, and music—he came to consider jazz the musical equivalent to abstract visual art, channeling its energy with his bold colors and rhythmic geometries.

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About the work
R
Rago

5 3/4" x 6 1/2" (sight)

Literature: Cole-Myers 79Natural Scene, ca. 1955

Screenprint in …

Read more

5 3/4" x 6 1/2" (sight)

Literature: Cole-Myers 79Natural Scene, ca. 1955

Screenprint in colors (framed)

Signed

From an unknown edition size

5 3/4" x 8 1/2" (sight)

Provenance: Private Collection, New Jersey

From an unknown edition size

Signature
Signed
Stuart Davis
American, 1892–1964
Follow

Stuart Davis’s paintings synthesized many of the most prominent movements and styles of 20th-century modernism. Though his early works reveal the influence of Robert Henri and the Ashcan School of American painting, he would later abandon this Realist style in favor of experimentation with Post-Impressionism and Cubism, drawing particular influence from Cézanne and Matisse. Davis developed his own style based on Synthetic Cubism, depicting American commercial products and household implements with a stylized integration of figure and ground and a strong interest in surface quality and perspective. Later in his career, Davis would explore the urban confluence of technology, architecture, and music—he came to consider jazz the musical equivalent to abstract visual art, channeling its energy with his bold colors and rhythmic geometries.

Stuart Davis

Ivy League, 1953

Screenprint in colors (framed)
Bidding closed
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American Modernism