MARC Record from marc_columbia

LEADER: 03890mam a2200481 a 4500
001 1230982
005 20220601235551.0
008 921211s1992 nyua bc 001 0 eng d
010 $a 92073191
020 $a0810932156
020 $a0917418956 (pbk.)
020 $a9780810932159 (pbk.)
035 $a(OCoLC)29600463
035 $a(OCoLC)ocm29600463
035 $a(CStRLIN)TXAM92-B5653
035 $9AGV5566CU
035 $a(NNC)1230982
035 $a1230982
040 $aTxFACM$cTxFACM$dNNC$dOrLoB-B
100 1 $aWilkin, Karen,$d1940-$0http://id.loc.gov/authorities/names/n79009822
245 14 $aThe drawings of Stuart Davis :$bthe amazing continuity /$cKaren Wilkin and Lewis Kachur.
260 $aNew York, N.Y. :$bAmerican Federation of Arts, in association with H.N. Abrams,$c1992.
300 $a142 pages :$billustrations (some color) ;$c26 x 27 cm
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
500 $aCatalog of an exhibition at the Terra Museum of American Art, Dec. 12, 1992-Feb. 7, 1993 and at six other museums through July 1994.
500 $aIncludes index.
500 $aBarnard Library copy: Barnard Alum Collection.$5NNC
504 $aBibliography: p. 138.
505 00 $tAcknowledgments /$rSerena Rattazzi --$tStuart Davis and Drawing /$rKaren Wilkin --$tThe Language of Stuart Davis: Writing/Drawing /$rLewis Kachur --$tThe Plates --$tStuart Davis on Drawing.
520 1 $a"Stuart Davis (1892-1964), once described as "the ace of America's Modernists," regarded drawing as central to his art. He believed that all his works were drawings, and developed his images as carefully adjusted black-and-white "configurations" which he translated to "color-space compositions" only at the last stage of his painting procedure. He even retranslated some of his most ambitious and best-known paintings back into large-scale black-and-white drawings on canvas, apparently as a final version of the image." "This volume examines, for the first time, the full range of Davis's activity as a draftsman, from his early naturalistic drawings in the manner of the Ashcan School to the economical near-abstractions of his maturity. A broad interpretation of the notion of drawing, in keeping with Davis's own understanding of the term, allows the inclusion of works on paper in a variety of mediums, including watercolors, gouaches, and some late black-and-white drawings on canvas." "Included as well are selections from Davis's extensive writings, which contain innumerable references to drawing: attempts to define what constitutes a good drawing, and discussions of the role of drawing in his work and in the formulation of his complex theories of composition. Just as important, Davis's notebooks contain many images, ranging from diagrams that illustrate theory to fully developed, self-sufficient drawings." "Karen Wilkin and Lewis C. Kachur, both eminent Davis scholars, draw heavily on his unpublished writings and less well-known images to deepen our understanding of Davis and of American modernism in its formative years."--BOOK JACKET.
600 10 $aDavis, Stuart,$d1892-1964$vExhibitions.
650 0 $aPainting, American.$0http://id.loc.gov/authorities/subjects/sh85096685
650 0 $aPainting, American$y20th century.$0http://id.loc.gov/authorities/subjects/sh85096806
700 1 $aKachur, Lewis.$0http://id.loc.gov/authorities/names/n86822021
700 1 $aDavis, Stuart,$d1892-1964.$0http://id.loc.gov/authorities/names/n85290099
710 2 $aAmerican Federation of Arts.$0http://id.loc.gov/authorities/names/n78096867
710 2 $aTerra Museum of American Art.$0http://id.loc.gov/authorities/names/n83042054
740 0 $aAmazing continuity.
852 80 $boff,fax$hND239 D292$iW648
852 00 $bbar,over$hND237.D333$iW55 1992g
852 00 $bbar,over$hND237.D333$iW55 1992g