Stuart Davis (American, 1892–1964). The Mellow Pad, 1945–1951. Oil on canvas, 26 1/4 x 42 1/8 in. (66.7 x 107 cm). Brooklyn Museum, Bequest of Edith and Milton Lowenthal, 1992.11.6 (Photo: Brooklyn Museum, 1992.11.6_PS9.jpg)
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The composition's complex layering of bold shapes and colors in a kinetic pattern invokes the energetic movement of the jazz music Davis loved. This painting is also a riff on previous and subsequent similar compositions which Davis continually played with - again like a Jazz musician.
If you look closely, you can see that each field of color appears to be walled off. Davis used a type of masking tape, that was later removed, to create these shapes!
The Mellow Pad
Stuart Davis
American Art
On View:
The starting point for this lively patterned abstraction was an earlier canvas by Stuart Davis entitled House and Street, 1931. Treating each subsequent version as a riff on a jazz theme, Davis moved further and further away from his original composition to establish independent, rhythmic color patterns that retained only a few direct visual cues to the original composition. Davis theorized that abstract compositions could communicate to the viewer something of the subject from which they were derived. This composition embodies the “mellow pad”—jazz lingo for the “cool” place to be. Jazz rhythms were a potent inspiration for Davis, and their presence added a distinctly American component to his abstractions.
CAPTION
Stuart Davis (American, 1892–1964). The Mellow Pad, 1945–1951. Oil on canvas, 26 1/4 x 42 1/8 in. (66.7 x 107 cm). Brooklyn Museum, Bequest of Edith and Milton Lowenthal, 1992.11.6 (Photo: Brooklyn Museum, 1992.11.6_PS9.jpg)
IMAGE
overall, 1992.11.6_PS9.jpg. Brooklyn Museum photograph, 2016
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Download our app and ask your own questions during your visit. Here are some that others have asked.
Tell me more.
The composition's complex layering of bold shapes and colors in a kinetic pattern invokes the energetic movement of the jazz music Davis loved. This painting is also a riff on previous and subsequent similar compositions which Davis continually played with - again like a Jazz musician.
If you look closely, you can see that each field of color appears to be walled off. Davis used a type of masking tape, that was later removed, to create these shapes!