Stuart Davis: In Full Swing
June 10–Sept 25, 2016
Stuart Davis, Owh! in San Pao, 1951. Oil on canvas, 52 3/16 x 42 in. (132.6 x 106.7 cm). Whitney Museum of American Art, New York; purchase 52.2 © Estate of Stuart Davis/Licensed by VAGA, New York
Stuart Davis (1892–1964) is one of the preeminent figures of American modernism. With a long career that stretched from the early twentieth century well into the postwar era, he brought a distinctively American accent to international modernism. Faced with the choice between realism and pure abstraction early in his career, Davis invented a vocabulary that harnessed the grammar of abstraction to the speed and simultaneity of modern America. By merging the bold, hard-edged style of advertising with the conventions of European avant-garde painting, he created an art endowed with the vitality and dynamic rhythms that he saw as uniquely modern and American. In the process, he achieved a rare synthesis: an art that is resolutely abstract, yet at the same time exudes the spirit of popular culture.
The exhibition is unusual in its focus on Davis’s mature career and on his working method of using preexisting motifs as springboards for new compositions. From 1939 on, Davis rarely painted a work that did not make reference, however hidden, to one or more of his earlier compositions. Such “appropriation” is a distinctive aspect of his mature art. This presentation will be the first major exhibition to consistently hang Davis’s later works side by side with the earlier ones that inspired them. With approximately one hundred works, from his paintings of consumer products in the early 1920s to the work left on his easel at his death in 1964, the exhibition will highlight Davis’s unique ability to transform the chaos of everyday life into a structured yet spontaneous order that communicates the wonder and joy that can be derived from the color and spatial relationships of everyday things.
Stuart Davis: In Full Swing is co-organized by Barbara Haskell, Curator, Whitney Museum of American Art, New York, and Harry Cooper, Curator and Head of Modern Art, National Gallery of Art, Washington, DC, with Sarah Humphreville, Curatorial Assistant, Whitney Museum of American Art, New York.
Stuart Davis: In Full Swing is organized by the Whitney Museum of American Art, New York, and the National Gallery of Art, Washington, DC.
In New York, the exhibition is sponsored by
Major support is provided by the Henry Luce Foundation and the Terra Foundation for American Art.
Significant support is provided by the Philip and Janice Levin Foundation and Ted and Mary Jo Shen.
Generous support is provided by Barney A. Ebsworth, Cheryl and Blair Effron, Karen and Kevin Kennedy, Arlene and Robert Kogod, Garrett and Mary Moran, and Laurie M. Tisch.
Additional support is provided by the Alturas Foundation, Jeanne Donovan Fisher, and Pitt and Barbara Hyde.
Major endowment support is also provided by the Barbara Haskell American Fellows Legacy Fund.
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Paris, New York, and Gloucester
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In the 1920s, Paris was the center of the art world. So many Americans lived there during the decade that one journal humorously called it the "capital of America." By 1928, Davis was one of the few artists in the inner circle of the Whitney Studio Club who had not made the pilgrimage. To support his trip to Paris that year, Gertrude Vanderbilt Whitney purchased several of his paintings. Davis remained in the French capital for thirteen months, depicting the city's streets with the same angled geometries he had used in his egg-beater still lifes, while softening the severity of those earlier paintings with a confectionary palette and whimsical calligraphy. The sojourn solidified his commitment to angular geometry as a vocabulary. Its most significant contribution to his development, however, was dispelling any lingering sense of inferiority he had in relation to European artists. He would later characterize his time in Paris as the most seminal event of his artistic life.
When he returned to the United States in 1929, Davis was struck by the country's modernity. Technological advances in communication and transportation such as the telephone, cinema, radio, and air travel had made it possible to experience seemingly countless events taking place around the world almost simultaneously. To capture this insight, he juxtaposed multiple views of a scene within single paintings and distilled his subjects into sequences of small triangles that visually oscillated between two and three dimensions.
Below is a selection of works from Paris, New York, and Gloucester.
Rue Lipp, 1928
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Stuart Davis, Rue Lipp, 1928
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Barbara Haskell: Davis went to Paris in 1928 courtesy of a purchase by Gertrude Vanderbilt Whitney of two of his paintings. When he was there, he extended the geometric angularity that he had introduced in his Eggbeater paintings, but made it much more lyrical, much more delicate in keeping with his sense about the city. The picture, like many of the paintings from Paris, has this very confectionary palette, very linear detailing. For the first time he introduces his line as an independent element which becomes very prominent in his later work.
He presents the viewer as if we're sitting at a restaurant on the second floor overlooking a city street. In front of us are various objects used in drinking, which apparently Stuart Davis did a great deal of when he was in Paris.
Whimsically titled after the Brasserie Lipp, a restaurant Davis frequented while in Paris, this work combines a street scene and a still life. Painted from the perspective of someone sitting at a table on the restaurant’s second floor, drinking absinthe and beer and looking at the facades of the buildings in the square below, Rue Lipp suggests Davis’s affection for Parisian cafés as meeting places for the American expatriate crowd.
Events
View all-
Learning Series Lecture: Artists and the American City, 1920–1970
Saturday, April 30, 2016
6–7 pm -
Insider Perspectives on Stuart Davis: In Full Swing and Human Interest: Portraits from the Whitney’s Collection
Wednesday, May 18, 2016
7–8:30 pm -
Member Preview Days for
Stuart Davis: In Full SwingWednesday, June 8, 2016
12–5 pm -
RESCHEDULED:
Stuart Davis: In Full SwingSaturday, June 11, 2016
9:30–10:30 am
Audio guides
Stuart Davis, Owh! in San Pao, 1951. Oil on canvas, 52 3/16 x 42 in. (132.6 x 106.7 cm). Whitney Museum of American Art, New York; purchase 52.2 © Estate of Stuart Davis/Licensed by VAGA, New York
Hear directly from artists and curators on selected works from the exhibition.
View guideInstallation Photography
Installation view of Stuart Davis: In Full Swing (Whitney Museum of American Art, New York, June 10–September 25, 2016). Photograph by Ron Amstutz
Installation view of Stuart Davis: In Full Swing (Whitney Museum of American Art, New York, June 10–September 25, 2016). Photograph by Ron Amstutz
Installation view of Stuart Davis: In Full Swing (Whitney Museum of American Art, New York, June 10–September 25, 2016). Photograph by Ron Amstutz
Installation view of Stuart Davis: In Full Swing (Whitney Museum of American Art, New York, June 10–September 25, 2016). Photograph by Ron Amstutz
Installation view of Stuart Davis: In Full Swing (Whitney Museum of American Art, New York, June 10–September 25, 2016). Photograph by Ron Amstutz
Installation view of Stuart Davis: In Full Swing (Whitney Museum of American Art, New York, June 10–September 25, 2016). Photograph by Ron Amstutz
Exhibition Catalogue
This book pays tribute to the mature work of Stuart Davis, a distinctly American artist who adapted European modernism to reflect the sights, sounds, and rhythms of popular culture.
Beginning in 1921, a series of creative breakthroughs led Davis away from figurative painting and toward a more abstract expression of the world he inhabited. Drawing upon his admiration for Cézanne, Léger, Picasso, and Seurat, Davis developed a style that would evolve over the next four decades to become a dominant force in postwar art. His visionary responses to modern life and culture both high and low remain relevant more than 50 years after his death. Focusing on the images and motifs that became hallmarks of his career, this book features approximately 100 works—from his paintings of tobacco packages of the early 1920s, the abstract Egg Beater series, and the WPA murals of the 1930s, to the majestic works of his last two decades. The authors take a critical approach to the development of Davis's art and theory, paying special attention to the impact his earlier work had upon his later masterpieces. They also discuss Davis’s unique ability to assimilate the lessons of Cubism as well as the imagery of popular culture, the aesthetics of advertising, and the sounds and rhythms of jazz—his great musical passion. Informed by previously unpublished primary documents, the detailed chronology is, in effect, the first Davis biography. Together, these elements create a vital portrait of an artist whose works hum with intelligence and energy.
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Explore works from this exhibition
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In the News
"He Made It American"
—The New York Review of Books
"An Antidote to Depression-Era Gloom"
—The Wall Street Journal
"Abstract Meets Pop Culture in Stuart Davis' Iconic Art"
—WNYC
"Stuart Davis at the Whitney"
—Front & Center at Rockefeller Center
"Stuart Davis: A Little Matisse, a Lot of Jazz, All American"
—The New York Times
"Review: Stuart Davis at the Whitney"
—WNYC
"Davis at the Whitney: Putting Some Pop in Abstract Art"
—The Wall Street Journal
"Stroke of Genius: A Peek at NYC's Summer Art Exhibits"
—The Village Voice
"In this beautifully paced show, hung by the Whitney curator Barbara Haskell, Davis’s earlier phases prove most absorbing. They detail stages of a personal ambition in step with large ideals."
—The New Yorker
"High-spirited Romp: the Best of Stuart Davis"
—New York Observer
"Davis’s musical paintings burst with musicality."
—Brooklyn Rail
"Stuart Davis: In Full Swing, New York — ‘Soul-warming’"
—Financial Times
"Showcasing his work from 1921 to his death in 1964, this exhibition allows the visitor to fully appreciate the artist’s interest in going back through his older sketches and paintings to find inspiration."
—Studio International
"Stuart Davis: In Full Swing, the well-chosen survey of more than 80 significant works now at the Whitney Museum of American Art, is reason for rejoicing."
—The Wall Street Journal
"Back to the beginning with Stuart Davis"
—The Art Newspaper
"He created art that merged European avant-garde abstraction with the energy of familiar American signs and symbols, thus setting the stage for Jasper Johns, Ed Ruscha, Barbara Kruger, and countless 'word and image' artists who followed."
—Leslie Rankow Blog
"A Bridge Between New York and Paris: on Stuart Davis at the Whitney Museum"
—The Art Newspaper
"This Davis exhibit is full of pop, sizzle, exuberance and patriotism."
—Republican American
"Upbeat and Edgy: Stuart Davis at the Whitney"
—Hyperallergic
"Stuart Davis Was a Genius of Modern Style Before Style Became a Bad Word"
—Artnet News