Stuart Davis

Stuart Davis, Colonial Cubism, 1954, oil on canvas
Collection Walker Art Center, Gift of the T.B. Walker Foundation, 1955

Stuart Davis: Interview, 1957
Stuart Davis interviewed by senior curator Sidney Simon, Walker Art Center for the 1957 exhibition.

All files are in RealAudio format.

Part 1, Track 1, 9:06
Davis during World War II; first retrospective at Museum of Modern Art; post war stimulus of art world. Part 1, Track 2, 7:01
Paris and New York; Davis not interested in American Scene, Social Content or any of the other schools of art. Part 1, Track 3, 7:37
Guggenheim Fellowship 1950; visiting artist at Yale University 1951; teaching at the Art Students League 1931 and later at the New School.
Part 1, Track 4, 7:54
Davis' writings and articles; basic philosophy of art--"The Eight"; Davis' early education with Henri; Abstraction in Art.

Part 1, Track 5, 9:23
Not associated with Abstract Artists Group in New York; Universal and Objective nature in Art; Emotion in Art. Part 1, Track 6, 6:54
Van Gogh: Emotion and Technique; Identification of feelings with brush strokes; Seurat.
Part 1, Track 7, 7:48
Davis' attitude toward abstraction as it relates to Cubism; Art in the Information Age, 1950s.

Part 2, Track 1, 12:55
Question: explain color?; watches boxing while painting; impact of life events on Art. Part 2, Track 2, 10:34
Question: When does color enter into the creative process?
Part 2, Track 3, 5:18
Question: Analysis and synthesis of painting?; developing a composition from the simple to the complex; painting technique. Part 2, Track 4, 7:54
Egg Beater Series; moving toward abstraction; Davis no longer paints outdoors; Question: Is there less of a landscape feeling to new work? Part 2, Track 5, 4:52
Art as the basis for other Art; content in Art.
Part 2, Track 6, 7:29
European versus American Art; views on Abstract Expressionism; sense of community among young American painters; precisionism in art; importance of Leger to Modern Art. Part 2, Track 7, 5:24
Love of Jazz music and its importance to Davis' work. Part 3, Track 1, 6:58
The PAD series; borrows from the language of jazz.
Part 3, Track 2, 3:58
"Mellow Pad"; The Max Series; Question: Where do the titles for paintings come from? Part 3, Track 3, 5:53
Discussion of "Little Giant Still Life" an art critic accused Davis of concealing dirty words in this painting. Part 3, Track 4, 5:30
"Triadic" title refers to masts of sailing ships; prefers to do large paintings but often works out ideas on smaller paintings; "Feasible 1" and "Feasible 2"; "LeRoy's Shift"; planes of color.
Part 3, Track 5, 4:40
"Medium Still Life"; "Seme" Part 3, Track 6, 5:09
"Tournous" watched boxing matches with Edgar Varese who was born in Tournous, France; "Colonial Cubism" a satirical title; "Underpass"; Titles always come after the painting is done

Part 1, Track 1, 9:06 Davis during World War II; first retrospective at Museum of Modern Art; post war stimulus of art world.	Part 1, Track 2, 7:01 Paris and New York; Davis not interested in American Scene, Social Content or any of the other schools of art.	Part 1, Track 3, 7:37 Guggenheim Fellowship 1950; visiting artist at Yale University 1951; teaching at the Art Students League 1931 and later at the New School.
Part 1, Track 4, 7:54 Davis' writings and articles; basic philosophy of art--"The Eight"; Davis' early education with Henri; Abstraction in Art.
Part 1, Track 5, 9:23 Not associated with Abstract Artists Group in New York; Universal and Objective nature in Art; Emotion in Art.	Part 1, Track 6, 6:54 Van Gogh: Emotion and Technique; Identification of feelings with brush strokes; Seurat.
Part 1, Track 7, 7:48 Davis' attitude toward abstraction as it relates to Cubism; Art in the Information Age, 1950s.
Part 2, Track 1, 12:55 Question: explain color?; watches boxing while painting; impact of life events on Art.	Part 2, Track 2, 10:34 Question: When does color enter into the creative process?
Part 2, Track 3, 5:18 Question: Analysis and synthesis of painting?; developing a composition from the simple to the complex; painting technique.	Part 2, Track 4, 7:54 Egg Beater Series; moving toward abstraction; Davis no longer paints outdoors; Question: Is there less of a landscape feeling to new work?	Part 2, Track 5, 4:52 Art as the basis for other Art; content in Art.
Part 2, Track 6, 7:29 European versus American Art; views on Abstract Expressionism; sense of community among young American painters; precisionism in art; importance of Leger to Modern Art.	Part 2, Track 7, 5:24 Love of Jazz music and its importance to Davis' work.	Part 3, Track 1, 6:58 The PAD series; borrows from the language of jazz.
Part 3, Track 2, 3:58 "Mellow Pad"; The Max Series; Question: Where do the titles for paintings come from?	Part 3, Track 3, 5:53 Discussion of "Little Giant Still Life" an art critic accused Davis of concealing dirty words in this painting.	Part 3, Track 4, 5:30 "Triadic" title refers to masts of sailing ships; prefers to do large paintings but often works out ideas on smaller paintings; "Feasible 1" and "Feasible 2"; "LeRoy's Shift"; planes of color.
Part 3, Track 5, 4:40 "Medium Still Life"; "Seme"	Part 3, Track 6, 5:09 "Tournous" watched boxing matches with Edgar Varese who was born in Tournous, France; "Colonial Cubism" a satirical title; "Underpass"; Titles always come after the painting is done