Student Artwork Guide — The Terminal

Name Class Date

Stuart Davis, The Terminal (1937). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist: Stuart Davis artsdot.com/en/artists/stuart-davis/
Artist’s dates: 1892 – 1964
Painted: 1937
Original size: 76 x 102 cm

Copyright This work is still under copyright. Stuart Davis died in 1964; copyright lasts 70 years after the artist’s death, so it remains in force until 2034. The image is shown here for classroom reference; rights remain with the rights holder.

The Terminal — Stuart Davis

How big is it?

The original measures 76 × 102 cm (height × width), drawn here beside an adult of average height.

When was this painted?

first works
late works

1890
1900
1910
1920
1930
1940
1950
1960

07
817
1827
2837
3847
4857
5867
6872

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 72 at death.

Painted when the artist was 45. The artist lived to 72. 14 of the 26 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Stuart Davis (1892–1964) ▲ this work, 1937 every dated painting, decade by decade

First works: up to 1924 Main working years: 1924–1942 Late works: from 1942

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Odol artsdot.com/en/art/stuart-davis-odol-8LT7WX-en/
Rocks, Gloucester, 1915 artsdot.com/en/art/stuart-davis-rocks-gloucester-D4QFBD-en/
The Mellow Pad artsdot.com/en/art/stuart-davis-the-mellow-pad-8LT7Z3-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: artsdot.com/en/art/similar/stuart-davis-the-terminal-AS7UQM-en/

Colours

Measured from the image

Main colour

Putty #d1c0a4

Catalogued palette

#D1C0A4
#2C3231
#75827E
#9F703A

These colours inside the artist’s whole palette Find other paintings by colour

Palette: Earthy The dominant colour family in the image.
Main colour name: Putty
Intensity: Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
Contrast: Statement How much the colours differ in lightness and saturation across the picture.
Harmony: Discordant Palette How well the colours work together, from clashing to fully unified.
Brightness: Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
Saturation: Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

Where in the world is this painting looked at?

under 1%
1–3%
3–8%
8–20%
20% and over

This painting alone has too few recorded visitors to map, so the plate reads every work by Stuart Davis over the last twelve months — 6 countries in all. Where these figures come from

The ten leading countries

1 China 81.0%
2 Sweden 7.1%
3 United States of America 4.8%
4 Croatia 2.4%
5 South Korea 2.4%
6 Netherlands 2.4%

Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

The 20 most looked-at works by Stuart Davis

1 Visa 1 6.7%
2 Garage No. 1, 1917 4.4%
3 Study for ''Blips and Ifs'' 4.4%
4 Odol 2.2%
5 The Mellow Pad 2.2%
6 Impression of the New York World's Fair (mural study, Communications Building, World's Fair, Flushing, New York), 1938 2.2%
7 Waterfront Landscape, 1936 2.2%
8 Composition, 1935 2.2%
9 Hot Still-Scape for Six Colors. Seventh Avenue Style 2.2%
10 T View, 1951 2.2%
11 The Terminal, 1937 this painting 2.2%
12 Newark, 1910 2.2%
13 Int'l Surface No. 1, 1960 2.2%
14 Ana 2.2%
15 Gloucester Terraces 2.2%
16 Flying Carpet, 1942 2.2%
17 Studio interior 2.2%
18 Textile with Liquor and Prohibition Motifs 2.2%
19 Report from Rockport 2.2%
20 Waterfront Landscape 2.2%

Together these works take 52.9% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 167 works by this artist, of which 41 were looked at at least once. This painting ranks 11 of them, with 2.2% of that attention. The same counts, month by month

Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

Artist

Stuart Davis

Born in Philadelphia, United States of America

Stuart Davis: A Pioneer of American Modernism

Early Life and Training

Born on December 7, 1892, in Philadelphia, Stuart Davis was immersed in an artistic environment from a young age. His father, Edward Wyatt Davis, served as the art editor for the Philadelphia Press, while his mother, Helen Stuart Davis, was a sculptor. This familial background undoubtedly fostered his early interest in visual arts.

Davis received formal training at the Robert Henri School of Art in New York City from 1909 to 1912 under the guidance of Robert Henri. During this period, he formed lasting friendships with fellow painters John Sloan, Glenn Coleman, and Henry Glintenkamp.

Early Career and the Armory Show

Davis quickly gained recognition as one of the youngest exhibitors at the pivotal Armory Show in 1913. He presented five watercolor paintings that reflected the style of the Ashcan School, marking an early step in his artistic journey.

Artistic Development and Style

Throughout the 1920s, Davis developed his distinctive mature style. He began creating abstract still lifes and landscapes characterized by a proto-pop art element, incorporating contemporary subject matter like cigarette packages and spark plug advertisements into his compositions.

His work is known for its bold, brash, and colorful nature. Davis’s artistic expression was profoundly influenced by his love of jazz music, which became increasingly evident in his paintings from the 1940s and 1950s. The Ashcan School movement also played a crucial role in shaping his early aesthetic sensibilities.

Influences and Inspirations

Robert Henri: Provided foundational training and encouraged direct observation of life.

Ashcan School: Influenced his initial focus on urban realism and everyday subjects.

Cubism: Inspired his exploration of abstract forms and fragmented perspectives.

Jazz Music: Contributed to the rhythmic energy and improvisational quality of his paintings.

Notable Works

Odol (Modernism), completed in 1928, stands as a prime example of Davis’s unique style. This painting exemplifies his ability to blend abstract forms with recognizable imagery from popular culture.

Other significant works include Rocks, Gloucester (1915), The Mellow Pad, and Tropes de Teens (1956).

Legacy and Historical Significance

Stuart Davis’s contributions to American Modernism are undeniable. He paved the way for future generations of artists by challenging traditional artistic conventions and embracing contemporary themes.

As a pioneer in abstract art, he helped establish a distinctly American voice within the broader context of modern art history. His work continues to inspire and influence artists today, solidifying his place as a significant figure in 20th-century art.

Where to read more

The artist Stuart Davis artsdot.com/en/artists/stuart-davis/
Similar works More works to compare artsdot.com/en/art/similar/stuart-davis-the-terminal-AS7UQM-en/

Find this online

QR code linking to the download page for The Terminal

artsdot.com/en/art/download/stuart-davis-the-terminal-AS7UQM-en/

Cite this artwork

MLA: Davis, Stuart. The Terminal. 1937, https://artsdot.com/en/art/stuart-davis-the-terminal-AS7UQM-en/
APA: Davis, Stuart (1937). The Terminal [Painting]. https://artsdot.com/en/art/stuart-davis-the-terminal-AS7UQM-en/
Chicago: Stuart Davis. The Terminal. 1937. https://artsdot.com/en/art/stuart-davis-the-terminal-AS7UQM-en/
Harvard: Davis, Stuart (1937) The Terminal. Available at: https://artsdot.com/en/art/stuart-davis-the-terminal-AS7UQM-en/

The Terminal — Stuart Davis

Look closely

Answer in your own words. There are no wrong answers here — only answers you can explain.

What catches your eye first, and why?
Which colours or shapes create the mood — and what is that mood?
Look back at Odol, earlier in this guide. Name two things it shares with this work, and one that is different.
Stuart Davis was about 45 when this was made. What in it looks like the work of an artist at that stage?
What might the artist have wanted you to feel?

Your response

Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

Questions & Answers

How do I discover artworks close to "The Terminal" by Stuart Davis?

Works similar to "The Terminal" are listed on the artwork's Similars page.

Is "The Terminal" by Stuart Davis a light or a dark artwork?

"The Terminal" by Stuart Davis is recorded as bright, with a gentle luminance luminance.

How big is the original "The Terminal"?

The original "The Terminal" by Stuart Davis measures 76 x 102 cm.

Is a download available for "The Terminal"?

The image of "The Terminal" by Stuart Davis can be downloaded from the artwork's Download page: a high-resolution digital image download.

Is "The Terminal" by Stuart Davis a bright or a dark artwork?

In terms of perceived brightness, "The Terminal" by Stuart Davis is bright.

Toward which tone does "The Terminal" lean?

"The Terminal" leans toward an ochre to sepia tone.

Can I preview "The Terminal" by Stuart Davis before ordering?

A preview of "The Terminal" by Stuart Davis is available on the artwork's Preview page.

Is "The Terminal" free of copyright?

Regarding copyright, "The Terminal" is still protected by copyright.