Arthur Bowen Davies (1862-1928) stands as one of the most intriguing and pivotal figures in the transition of American art from 19th-century academicism to the burgeoning modernism of the early 20th century. A painter of ethereal, dream-like visions, a key organizer of the groundbreaking 1913 Armory Show, and a member of the rebellious group known as "The Eight," Davies's career was multifaceted and his influence far-reaching. His work, often steeped in symbolism and a personal mythology, continues to fascinate and provoke discussion.
It is important to note at the outset that the name "David Davies" also refers to a notable Australian painter (1864-1939) of the Heidelberg School, known for his atmospheric landscapes and Impressionistic style, with works such as "A Hot Day, 1888" and "Cornish Village at Sunset." This article, however, will focus on the American artist Arthur B. Davies, whose activities and associations align with the more detailed aspects of the provided information concerning Symbolism, The Eight, and the Armory Show.
Early Life and Artistic Formation
Born in Utica, New York, in 1862, Arthur B. Davies showed an early aptitude for art. His family moved to Chicago, where he briefly studied at the Chicago Academy of Design before working as a drafting engineer in Mexico. This period of travel and exposure to different landscapes may have subtly influenced his later imaginative works. Upon returning to Chicago, he resumed his studies at the Art Institute of Chicago under Charles Corwin.
A move to New York City in the late 1880s proved decisive. Davies enrolled at the Art Students League, a progressive institution that offered an alternative to the more conservative National Academy of Design. He also worked as an illustrator for magazines like Century and St. Nicholas, a common path for artists of the era to support themselves while developing their fine art practice. It was during this period that Davies began to cultivate his distinctive artistic voice, moving away from purely representational art towards more poetic and imaginative realms.
The Embrace of Symbolism
Davies's mature style is most closely associated with Symbolism, an international artistic and literary movement that flourished in the late 19th century. Symbolists sought to express subjective emotional experiences through suggestion and allusion, often drawing on mythology, dreams, and the subconscious. Davies's work eschewed the gritty realism that was gaining traction with some of his contemporaries, opting instead for idyllic, often Arcadian, landscapes populated by graceful, elongated figures, frequently nudes.
His paintings, such as "Driobe and Her Handmaidens" or the iconic "Unicorns (Legend - Sea Calm)," evoke a sense of timelessness and mystery. These are not depictions of the everyday world but rather visions from an interior landscape, rich with personal symbolism that often remains elusive to the viewer. Davies was sometimes referred to as a "painter of dreams," and his canvases often possess a lyrical, musical quality. His figures move with a rhythmic grace, their gestures suggesting narratives that are felt rather than explicitly understood.
Influences on Davies's Symbolist tendencies can be traced to European artists like Pierre Puvis de Chavannes, known for his serene, allegorical murals, and the Swiss Symbolist Arnold Böcklin, whose works often explored mythological themes with a somber romanticism. Davies, however, forged a unique path, blending these influences with a distinctly American sensibility and a deeply personal iconography. His use of color was often subtle and harmonious, contributing to the overall dream-like atmosphere of his compositions.
A Maverick in "The Eight"
Despite his poetic and often otherworldly subject matter, Arthur B. Davies became a founding member of "The Eight," a group of American painters who exhibited together in 1908 at the Macbeth Galleries in New York. This exhibition was a landmark event, often seen as a protest against the conservative exhibition policies of the National Academy of Design, which tended to favor academic and traditional styles.
The group was spearheaded by the charismatic artist and teacher Robert Henri, a proponent of depicting contemporary urban life with unvarnished realism. Other members included John Sloan, William Glackens, Ernest Lawson, George Luks, Everett Shinn, and Maurice Prendergast. Most of these artists, particularly Henri, Sloan, Luks, and Shinn, became associated with what would later be termed the Ashcan School, known for its focus on the everyday realities of city life.
Davies was an anomaly within this group. His Arcadian visions and Symbolist leanings stood in stark contrast to the urban scenes and social commentary favored by many of his fellow members. Ernest Lawson, with his Impressionistic landscapes, and Maurice Prendergast, with his mosaic-like Post-Impressionist scenes, also differed from the core Ashcan aesthetic, but Davies's work was perhaps the most distinct. His inclusion in "The Eight" speaks to the group's broader aim: a demand for artistic freedom and the right to exhibit diverse styles without the restrictive judgment of the established art institutions. Davies's participation underscored the idea that rebellion against academicism could encompass a wide range of artistic expressions, not just realism.
The Architect of the Armory Show
Perhaps Arthur B. Davies's most significant contribution to American art history was his role as the primary organizer of the International Exhibition of Modern Art, famously known as the Armory Show, held in 1913. Davies was the president of the Association of American Painters and Sculptors (AAPS), the group responsible for mounting this transformative exhibition. Along with fellow artists Walt Kuhn and Walter Pach, Davies traveled to Europe to select works that would introduce the American public and artistic community to the radical developments of European avant-garde art.
The Armory Show was a watershed moment. It featured nearly 1,300 works by over 300 artists, showcasing Impressionism, Post-Impressionism, Fauvism, and Cubism alongside contemporary American art. For many Americans, this was their first encounter with the revolutionary styles of European modernists. Works by artists such as Claude Monet, Auguste Renoir, Paul Cézanne, Vincent van Gogh, Paul Gauguin, Henri Matisse, Pablo Picasso, Georges Braque, Wassily Kandinsky, and Constantin Brâncuși were displayed, often to a bewildered and outraged public.
Marcel Duchamp's "Nude Descending a Staircase, No. 2" became a particular lightning rod for controversy and ridicule, famously described by one critic as "an explosion in a shingle factory." Despite, or perhaps because of, the scandal it generated, the Armory Show had a profound and lasting impact. It shattered America's artistic insularity, challenged prevailing tastes, and forced American artists to confront the new visual languages emerging from Europe. Davies's vision and organizational acumen were crucial to the exhibition's realization and its ultimate success in shaking up the American art world. He demonstrated a remarkable openness to diverse artistic expressions, even those far removed from his own style.
Artistic Evolution and Later Interests
The Armory Show also had an impact on Davies's own work. While he never fully abandoned his Symbolist roots, he began to experiment with elements of Cubism and other modernist idioms. Some of his later paintings show a greater interest in fragmented forms, geometric abstraction, and dynamic compositions, reflecting his engagement with the art he had helped introduce to America. Works from this period sometimes feature figures with a more angular, faceted quality, and a heightened sense of rhythmic movement that seems to draw on Futurist ideas of dynamism.
Davies was a prolific artist, working not only in oil painting but also in watercolor, pastel, etching, and lithography. He also designed tapestries and explored other decorative arts. His interest in various media speaks to his restless creativity and his desire to explore different modes of artistic expression. He was known to be an avid collector, acquiring works by artists he admired, including European modernists like Cézanne and Picasso, as well as American contemporaries such as Max Weber.
His thematic concerns, however, often remained consistent. The female nude, the idyllic landscape, and a sense of poetic reverie continued to be central to his art, even as his stylistic approach evolved. He often gave his works evocative, sometimes enigmatic, "Arcadian titles" that hinted at classical or mythological narratives without providing explicit interpretations, leaving them open to the viewer's imagination.
Controversies and Unresolved Mysteries
Arthur B. Davies's art, both during his lifetime and posthumously, has been subject to various interpretations and occasional controversy. His commitment to Symbolism and the exploration of dream-like states led some critics to find his work overly sentimental or obscure. The personal and often ambiguous nature of his symbolism meant that the "meaning" of his paintings could be difficult to pin down, leading to debates about their ultimate significance.
The very abstraction and lack of explicit narrative in some of his works, such as the painting "Two Ninth Grey" (if this refers to one of his more abstract compositions), could lead to questions about form and representation. Some viewers and critics struggled with what they perceived as a lack of conventional structure or easily digestible content. Davies himself was reportedly reticent about explaining his art, preferring to let the works speak for themselves. This reluctance to articulate his intentions only added to the mystique surrounding his creations.
The use of recurring poses and symbolic motifs in his oeuvre has also been a subject of art historical discussion. Were these elements part of a coherent personal mythology, or were they more intuitive explorations of form and feeling? The answers remain open to interpretation, contributing to the enduring enigma of Davies's artistic vision. His stylistic shifts, particularly after the Armory Show, also drew comment, with some critics questioning the consistency of his artistic development.
Beyond his art, Davies's personal life contained complexities that were largely hidden from public view during his lifetime. He maintained two separate families, a secret that only came to light after his death, adding another layer to the perception of him as a man of hidden depths and contradictions.
Legacy and Influence
Arthur B. Davies died in Florence, Italy, in 1928. His legacy is complex and significant. As an artist, he created a unique body of work that stands apart from the dominant trends of his time, offering a deeply personal and poetic vision. His commitment to Symbolism provided an alternative to both academic realism and the emerging modernist focus on formal experimentation for its own sake.
As a member of "The Eight," he played a role in challenging the established art institutions and advocating for greater artistic freedom. His most profound impact, however, undoubtedly came from his leadership in organizing the Armory Show. This single event irrevocably altered the course of American art, opening the floodgates to European modernism and inspiring a new generation of American artists to explore avant-garde styles. Artists like Stuart Davis, Charles Demuth, and Marsden Hartley, among many others, were profoundly affected by the works they encountered at the Armory Show.
While his own paintings may not have achieved the same level of revolutionary impact as some of the European modernists he championed, Arthur B. Davies remains a crucial figure. He was a bridge between the 19th and 20th centuries, between American and European art, and between romantic idealism and modernist inquiry. His work continues to be studied and appreciated for its lyrical beauty, its enigmatic symbolism, and its unique place in the tapestry of American art history. He was a visionary, an organizer, and an artist whose quiet intensity and profound dedication to his craft left an indelible mark. His ability to navigate and influence diverse artistic circles, from the rebellious realists of The Eight to the champions of European modernism, underscores his unique position and lasting importance.
