Apollinaire, Guillaume, “Die Moderne Malerei”, Der Sturm, n° 148-9, Berlin, Feb. 1913.
Arnason, H.H., Stuart Davis, exhibition catalogue, Minneapolis: Walker Evans Center, 1947.
Davis, Stuart, “Abstract Art in the American Scene”, Parnassus 13, March 1941.
—, “Autobiography”, in Stuart Davis, New York: American Artists Group, 1945, in Kelder: infra, p. 23-25.
—, Stuart Davis daily calendars, Archives of the Estate of Stuart Davis, in Sims, below.
Greenberg, Clement, Art and Culture: Critical Essays, Boston, Icon Press, 1961.
—, “The Present Prospects of American Painting and Sculpture”, Horizon (Oct.1947)
—, “Avant-garde and Kitsch”, Partisan Review, Fall 1939, reproduced in Art and Culture: Critical Essays, p. 3-21.
—, “Modernist Painting”, 1961, radio broadcast lecture 14 of The Voice of America Forum Lectures : The Visual Arts, reproduced in Frascina and Harris, infra, p. 308-314.
Frascina, Francis, and Harris Jonathan, eds, Art in Modern Culture, London: The Open University and Phaidon Press, 1992.
Haskell, Barbara and Harry Cooper, eds., Stuart Davis, In Full Swing, exhibition catalogue, Whitney Museum of American Art and The National Gallery of Art, Washington, New York and Munich, 2016.
Kelder, Diane, Stuart Davis, a Documentary Monograph, New York, Praeger Publishers, 1971.
Kootz, Samuel, Rosenberg, Harold, The Intrasubjectives, exh. cat., New York: Samuel M. Kootz Gallery, 1949.
Lane, John R., “Stuart Davis in the 1940s”, in Sims, infra, p. 70-81.
—, Stuart Davis : Art and Art Theory, exh.cat., New York: The Brooklyn Museum, 1978.
Meschonnic, Henri, Modernité Modernité, Paris, Gallimard, Folio Essais, Verdier 1988.
Oudard, Clément, Les Métamorphoses du modernisme, Paris : Presses de la Sorbonne Nouvelle, 2010.
Rosenberg, Harold, The Tradition of the New, New York: McGraw Hill, 1965.
Sims, Lowery Stokes, Stuart Davis, American Painter, exhibition catalogue, Metropolitan Museum of Art, 23 Nov. 1991- 16 Feb. 1992, New York : Harry N. Abrams, Inc., 1991.
Smith, Terry, “Rethinking Modernism and Modernity Now”, Filozofski vestnik, vol. xxxv, n.2, 2014, p. 271-319.
Turner, Bryan S., ed., Theories of Modernity and Post-modernity, London, Sage, 1990.
ARCHIVES:
Stuart Davis Papers, Harvard University Art Museums, Fogg Art Museum, Cambridge, Mass. (SDP)
Edith Halpert Papers, Archives of American Art, Smithsonian Institution, Washington D.C. (EHP)
WORKS CITED:
Stuart Davis:
ITLKSEZ, 1921, watercolour and collage on paper, Smithsonian Art Museum (and the Renwick Gallery), Washington D.C.
Odol, 1924, oil on canvas (o/c), MoMA, New York.
Odol, 1924, oil on cardboard, Cincinnati Art Museum.
Matches, 1927, o/c, Chrysler Museum of Art, Norfolk, VA.
Percolator, 1927, o/c, Metropolitan Museum of Art, New York.
Little Giant Still Life, 1950, o/c, 33 x 43 in. (83,8 x 109,2 cm), Virginia Museum of Fine Arts.
Study After Little Giant Still Life, ca.1950, o/c, 12 x 16 in. (30,5 x 40,6 cm), Estate of Stuart Davis.
Little Giant Still Life (Black and White Version), 1950-53, casein and traces of pencil on canvas, 33x43 in. (83,3 cm x 109,2 cm), private collection.
Visa, 1951, o/c, 40 x 52 in. (101,6 x 132,1 cm), MoMA, New York.
Schwitzki’s Syntax, 1961, oil, wax emulsion, ans masking tape on canvas, 42 x 56 in. (106,7 x 142,2 cm), Yale University Art Gallery, New Haven, CT.
Owh! in San Pao, 1951, o/c, Whitney Museum of American Art, New York.
Marcel Duchamp:
La Broyeuse de Chocolat, N.2, 1914, oil, graphite, and thread on canvas, Philadelphia Museum of Art, Philadelphia.
LHOOQ, 1919, pencil on postcard, private collection.
Belle Haleine, Eau de Voilette, 1921, perfume bottle with collage label, inside cardboard box, private collection.
Francis Picabia:
Portrait d’une jeune fille américaine dans l’état de nudité, 1915.