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Among the highlights of the following decades are a fiberglass classroom chair with attached desktop designed by Charles Eames and his wife Ray; a bright-red Olivetti “Valentine” portable typewriter by Ettore Sottsass and Perry King; and Verner Panton’s sculptural, molded plastic chair for the enterprising Herman Miller furniture company. And don’t miss “The Swinger,” Henry Dreyfuss and James Conner’s updated 1965 camera for Polaroid. Saul Bass is one of the designers represented in a wall of quotations at the end of the exhibit. “Sure enough,” he says, “big business embraced design and promptly turned it into a commodity.” capezio pointe shoe size chart.
In the context of the Cantor exhibit of industrial and commercial design, you could almost call Stuart Davis a commercial artist, so fascinated was he with the subjects of billboards, storefront signs, packaging and retail products capezio pointe shoe size chart. Although he began his career early in the 20th century, inspired by the “Ashcan School’s” depictions of gritty scenes of urban life, he quickly absorbed modernist ideas, grabbing Cubism and making it his own — and translating it from Parisian to “Americanism.”..
“Stuart Davis: In Full Swing,” on view at the de Young Museum in San Francisco through Aug. 6, skips the artist’s early work to explore his lively, colorful, graphic work — themes and variations that continued up until the night before he died in 1964. The 1950s Atomic Espresso maker for Brevetti Robbiati, by an anonymous Italian designer, is on view in “Creativity on the Line at the Cantor Arts Center. (Cooper Hewitt, Smithsonian Design Museum)Picasso and Braque and Matisse may have influenced him, since Davis spent time studying in Paris. And Andy Warhol and other Pop artists appropriated his use of consumer culture. But there’s nothing like his own works — this array of 59 paintings and 14 sketches at the de Young. It remains dazzling, fresh and contemporary in feeling capezio pointe shoe size chart.
A more comprehensive version of this exhibit was a big hit last year at the Whitney Museum in New York, the city that inspired much of Davis’ work capezio pointe shoe size chart. But so did Gloucester, Massachusetts, represented with sparse but iconic images in several paintings, as well as Paris, depicted almost like stage settings for ballets, in other works. Davis couldn’t get enough of American subject matter, from gas stations to barber poles to skyscrapers to jazz-age and swing-music impressions. His series of paintings with variations on the word “Champion” was inspired by a spark plug ad on a matchbook cover..
The exhibit subtitle “In Full Swing” conveys his musical, almost animated compositions, especially the studies for wide, congested murals. His “American Painting” (1932, revised 1942-1954) includes the line “It don’t mean a thing if it ain’t got that swing” from the Duke Ellington-Irving Mills composition capezio pointe shoe size chart. Davis’ later works grew in scale and looked more like collages of bold, saturated color, although his medium was still painting, not cut-and-pasted forms. While he continued with variations on earlier subjects, his paintings seemed to be more energetic, with the “pow” factor that Pop artists would pick up in the 1960s. A reviewer compared one work to “a good sock in the jaw.”..