Lew Davis, American, 1910 - 1979 Archives - Phoenix Art Museum

Paradise Valley (Valle del paraíso)

Samantha Andreacchi — Thu, 19 Sep 2024 19:41:01 +0000

Until about 1950, Davis’ major subject matter was the miners, their families, and the rickety towns where they lived, all painted in a strongly regionalist style. His representation of Paradise Valley dates from this period. Development has made his scene unrecognizable today, and serves as a reminder of how small these now booming communities once were.

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Little Boy Lives in a Copper Camp (Niño que vive en un campamento de cobre)

Samantha Andreacchi — Thu, 19 Sep 2024 19:41:00 +0000

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Thirty Minutes for Lunch (Treinta minutos para almorzar)

Samantha Andreacchi — Thu, 19 Sep 2024 19:35:15 +0000

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Market in San Miguel (Mercado en San Miguel)

Samantha Andreacchi — Thu, 19 Sep 2024 16:33:56 +0000

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Morning at the Little Daisy, Jerome (Mañana en Little Daisy, Jerome), 1936

Samantha Andreacchi — Thu, 19 Sep 2024 16:32:59 +0000

Born in the copper mining town of Jerome, Lew Davis left Arizona for New York for art study. He returned to the state in 1935 in the depths of the Depression, and became involved in local New Deal programs, which included teaching art at the Phoenix Federal Art Center, head by Philip C. Curtis. His paintings are Regionalist in style, inspired by the copper miners, their families, and the towns in which they lived. His training at the National Academy of Design made him a strong figure painter, as evidenced by his portrayal of nine sturdy miners at the beginning of their shift.

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Copper Camp—Spring (Campamento de cobre—la primavera)

Samantha Andreacchi — Thu, 19 Sep 2024 16:32:59 +0000

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Quiet Night (Noche tranquila)

Samantha Andreacchi — Thu, 19 Sep 2024 16:32:14 +0000

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Conversation (Conversación)

Samantha Andreacchi — Thu, 19 Sep 2024 16:32:13 +0000

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The Rebel (Elizabeth Ruskin) (La rebelde)

Jeff Williams — Thu, 19 Sep 2024 16:30:46 +0000

Born in the copper mining town of Jerome, Lew Davis left Arizona at the age of 17 for New York. For the next four years, Davis studied at the National Academy of Design where he became skilled at rendering the human figure. This painting features one of his fellow students, Elizabeth Ruskin. Although she stares directly at the viewer with an unsettling intensity, we know very little about her story except that she was a student in one of his art classes. That she was attracted to Davis is suggested by the two apples on the plate on the floor that allude to Adam’s temptation by Eve.

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