Gene Davis

Gene Davis (August 22, 1920 - April 6, 1985) was an American Color Field painter known especially for his paintings of vertical stripes of color. Biography Davis was born in Washington, D.C., in 1920 and spent nearly all his life there. Before he began to paint in 1949, he worked as a sportswriter, covering the Washington Football Team and other local teams. Working as a journalist in the late 1940s, he covered the Roosevelt and Truman presidential administrations, and was often President Truman's partner for poker games. His first art studio was in his apartment on Scott Circle; later he worked out of a studio on Pennsylvania Avenue. In the 1950s, Gene Davis, with Kenneth Noland and Morris Louis was one of a small group of painters called the Washington Color School who made experimentation with colours. In Washington he closely studied works in the Phillips Collection including paintings by Pierre Bonnard and Paul Klee, to which he later attributed his heightened sense of color. Davis's first solo exhibition of drawings was at the Dupont Theater Gallery in 1952, and his first exhibition of paintings was at Catholic University in 1953. A decade later he participated in the "Washington Color Painters" exhibit at the Washington Gallery of Modern Art in Washington, D.C., which traveled to other venues around the U.S., and launched the recognition of the Washington Color School as a regional movement in which Davis was a central figure. The Washington painters were among the most prominent of the mid-century color field painters. Though, he worked in a variety of media and styles, including ink, oil, acrylic, video, and collage, Davis is best known by far for his acrylic paintings (mostly on canvas) of colorful vertical stripes, which he began to paint in 1958. The paintings typically repeat particular colors to create a sense of rhythm and repetition with variations. One of the best-known of his paintings, "Blue Freak-Out" (1966) acquired by the Pérez Art Museum Miami, and "Black Grey Beat" (1964), owned by the Smithsonian American Art Museum reinforces these musical comparisons in its title.