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©
Estate of Stuart Davis/VAGA, NY/VEGAP, Madrid,
Stuart Davis

Pochade

1956 - 1958
Oil on canvas.
132.1 x 152.4 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
514
(
1977.38
)
ROOM 48
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Temporary exhibition rooms 54 Temporary exhibition rooms 55 Temporary exhibition rooms 56 Temporary exhibition rooms Rodin Exhibition room

Pochade, painted from 1956 to 1958, belongs to a group of large paintings on canvas from Stuart Davis’s final period in which he reworked the vocabulary of Cubist fragmentation. The painter likewise replaced his earlier stress on colour with a very clear emphasis on the use of drawing. The French word used as a title refers to an outline or quick sketch, although the work is clearly not a sketch in either format or execution. The stress on lettering is heightened by the incorporation of various words into the composition (“ANY, ” “CAT, ” “NEWS” and “Elite”) and the limiting of the colours to black, white, red and green.

Davis discussed the nature of line and drawing at length in his theoretic writings, and, as Gail Levin points out, he made various annotations about its execution in the three preliminary studies on paper for Pochade. To make his obsession with drawing even clearer, he produced two large paintings on canvas with the same image as Pochade but without using colour, thereby demonstrating that it was possible to cause a powerful impact with the most sparing of means.

Paloma Alarcó

20th Centurys. XX - Primeras vanguardias norteamericanasPaintingOilcanvas
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Pochade. Pochade, 1956-1958
Pochade
Stuart Davis

©

Estate of Stuart Davis/VAGA, NY/VEGAP, Madrid,

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Pochade. Pochade, 1956-1958
Pochade
Stuart Davis

©

Estate of Stuart Davis/VAGA, NY/VEGAP, Madrid,

Terms of Use

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However, photographed works are protected by copyright. Therefore, regardless of the terms of use of the photographs set out below by the Foundation, it will be necessary to obtain a license from  VEGAP (Visual Entidad de Gestión de Artistas Plásticos www.vegap.es) or from the corresponding collective management organizations in the country where the work is going to be used or, where appropriate, from the holder of their rights in order to reproduce or exploit the work.

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