10https://emuseum.cornell.edu/internal/media/dispatcher/80470/fullAndante1917[Arthur B. Davies]Arthur B. DaviesDrypointPrintshttps://emuseum.cornell.edu/objects/27694/rdfGroup of women or children[Arthur B. Davies]Arthur B. DaviesOilOn canvas? Or board?Paintingshttps://emuseum.cornell.edu/objects/50815/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/80229/fullItalian Landscape1925[Arthur B. Davies]Arthur B. DaviesWatercolor on paperPaintingshttps://emuseum.cornell.edu/objects/34526/rdfKneeling Nude with Outstretched Hand[Arthur B. Davies]Arthur B. DaviesCharcoal on paperDrawingshttps://emuseum.cornell.edu/objects/565/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/79985/fullNude[Arthur B. Davies]Arthur B. DaviesCharcoal and white chalk on paperDrawingshttps://emuseum.cornell.edu/objects/566/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/92642/fullNude by a Waterfall[Arthur B. Davies]Arthur B. DaviesOil on canvasRecognized for his distinctive and highly personal mode of artistic expression, Arthur B. Davies played a vital role in the development of American modernism. A figure painter, he was renowned for his Symbolist-inspired renderings of female figures in ideal Arcadian landscapes, which carried on the tradition of visionary paintings established in the United States by such artists as Albert Pinkham Ryder and Ralph Blakelock. Davies exhibited his work at the only exhibition of the Eight, held at the Macbeth Gallery in New York in 1908. He was later instrumental in organizing the 1913 Armory Show, a watershed event in the history of American art. Yet despite his enthusiastic support of the avant-garde, Davies eschewed Cubist fragmentation and the vivid coloration of Fauvism in favor of realist style, influenced by European Symbolism, German romanticism, and his own inner vision of nature. Throughout his career, Davies produced oils and pastels, crayon, drypoint and pencil drawings, as well as lithographs and sculptures. Toward the end of his life, he painted many watercolors, taking advantage of the medium's fluidity, transparency, and easy portability.~~~"America Gone Modern: From the Twenties to the Sixties," Spanierman Gallery, March 11 - April 29, 2000.Paintingshttps://emuseum.cornell.edu/objects/12359/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/80471/fullRound of Summer1919[Arthur B. Davies]Arthur B. DaviesSoft-ground etching and aquatintPrintshttps://emuseum.cornell.edu/objects/1494/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/83110/fullSea Maidens1924[Arthur B. Davies]Arthur B. DaviesSoft-ground etching and aquatintPrintshttps://emuseum.cornell.edu/objects/5654/rdfhttps://emuseum.cornell.edu/internal/media/dispatcher/92208/fullSea Sculpture[Arthur B. Davies]Arthur B. DaviesOil on canvasPaintingshttps://emuseum.cornell.edu/objects/31050/rdfSymmetryca. 1910[Arthur B. Davies]Arthur B. DaviesOil, crayon, and chalk on canvasPaintingshttps://emuseum.cornell.edu/objects/53297/rdf