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(81.3 x 106.4 cm)", "Disp_Height" : "32 in.", "Disp_Width" : "41 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Stuart Davis began as a student of the Urban Realist style, but upon seeing the many European modernist works on display at the New York Armory Show of 1913, the artist found his passion for abstraction. The influence of the broken-up and flattened surfaces of Cubism and the syncopated rhythms of American jazz contributed to Davis’ personal style. [Gallery label text, 2007] Gloucester, one of Massachusetts's oldest seaports, was a summer home for painter Stuart Davis from the time he was a young man of twenty-two. This view of the harbor clearly captivated him by the early 1930s, and preliminary studies of this painting reveal how carefully he considered the scene and translated it into paint, all the while deliberately conveying a sense of simplicity and speed in its execution. After a Parisian stay in the late 1920s, Davis returned to the United States with a new way of seeing things. The goal for him was to paint an expressive, abstracted version of the world around him, rather than a photographic simulacrum. As modernism challenged the nature of reality and how it is perceived, Davis reminds us here that it is possible to see two sides of a building at once, and that often it really looks like only half of a ship is in the water even though our brains convince us that the other half is hidden behind the fish warehouse. Flatness and simplification of forms were characteristics that distinguished work of influential European painters like Picasso and Matisse, whose work Davis would have encountered during his stay in France. 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New JPG derived from that larger TIF.", "View" : "" } , ] },{ "embark_ID" : 1551, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1551", "Disp_Access_No" : "1975.142", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Two Figures and El", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Stuart Davis", "Sort_Artist" : "Davis, Stuart", "Disp_Dimen" : "19 11/16 x 25 7/8 in. 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(22 x 29.5 cm)", "Disp_Height" : "8 11/16 in.", "Disp_Width" : "11 5/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Pen and ink", "Support" : "paper", "Disp_Medium" : "Pen and ink on paper", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Parent" : [ { "Rel_Obj_ID" : "333", "Rel_Obj_Title" : "Landscape with Garage Lights" } ], "Related_Sibling" : [ { "Rel_Obj_ID" : "3088", "Rel_Obj_Title" : "Study for "Landscape with Garage Lights"" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/95.54_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/95.54_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/95.54_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/95.54_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27613", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 1-16-05", "View" : "" } , ] },{ "embark_ID" : 3496, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3496", "Disp_Access_No" : "1995.42", "_AccNumSort1" : "", "Disp_Create_DT" : "1914", "_Disp_Start_Dat" : "1914", "_Disp_End_Date" : "1914", "Disp_Title" : "The Masses", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Max Eastman", "Sort_Artist" : "Eastman, Max", "Disp_Dimen" : "13 5/16 x 10 5/16 in. (33.8 x 26.2 cm)", "Disp_Height" : "13 5/16 in.", "Disp_Width" : "10 5/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Offset lithograph", "Info_Page_Comm" : "Bound book of 12 magazine issues with covers, January 1914 - December 1914. The Masses was a radical journal published between 1911 and 1917. In the words of its editorial board, “This Magazine is Owned and Published Cooperatively by Its Editors...A Revolutionary and not a Reform Magazine; a Magazine with a Sense of Humor and No Respect for the Respectable; Frank; Arrogant; Impertinent; searching for the True Causes; a Magazine directed against Rigidity and Dogma wherever it is found...” Stuart Davis, a friend of many of the “Ashcan” painters whose work appeared in The Masses, joined its editorial board in 1913 and resigned during the artists’ strike in 1916. The realistic style of this period of Davis’ work stands in sharp contrast to his later abstractions. [Gallery label text, 1996]", "Dedication" : "Tribute Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Book", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] }, ] }