史都華‧戴維斯(Stuart Davis, 1892-1964)是美國藝術家，在美國現代藝術史中被定位為現代藝術的少數幾位先驅者之一，尤其是二十世紀初現代主義繪畫尚未廣泛被美國本地所接受時，他就不斷朝向現代藝術實驗之路邁進。「美國的立體主義者」(American Cubism)是許多藝評家對戴維斯的一種封號，雖然對於他在接受現代藝術技法與應用上是一種肯定，但也無疑一是種侷限，對於他繪畫的成就的注目始終只停留在他二、三○年代，而且好似戴維斯就只是跟著立體主義的腳步走。

綜觀二○、三○年代時戴維斯的繪畫，其實都還處於摸索、實驗期，他真正成熟階段當屬於四、五○年代。但是四○年代中開始，抽象表現主義的出現逐漸成為藝術史的焦點，而戴維斯與這批年輕藝術家在創作想法上有所不同，使得他與藝術主流的距離漸遠，所以很容易讓人忽略了他在四○年代以後的繪畫表現。

本論文選擇以戴維斯四○、五○年代作品為研究主軸，探究其作品的形質，其中又以幾何抽象繪畫為重。首先，就藝術家本身的藝術生涯，分析其發展上的重要關鍵與影響，再從宏觀的社會環境角度來思考抽象藝術在二十世紀中葉的美國藝術中之所以形成主流的因素，以便了解戴維斯四○、五○年代進入純粹造型繪畫的社會脈絡。接續對藝術家個人的繪畫理論與理念作彙整與剖析，以作為後續形式風格分析的一個前提。進而論述四○、五○年代作品的風格形式、內容，同時與當時美國主要的藝術運動作一個對照。戴維斯在其藝術特質的展現上，受到和美國所居處的城市環境、大眾文化的影響，特別是在挪用、音樂、文字這幾個元素有密不可分的關聯，所以，在了解戴維斯的藝術形式之後，續而深入論及四○、五○年代藝術中的主要特質：挪用的手段、爵士樂與文字圖像的運用。一方面，這三項語彙的運用，不僅貫穿於繪畫生涯的作品之中，在不同時期，表現於繪畫上的意義也不同，所以，擴大研究這些元素有其必要；另一方面，追溯其脈絡皆與文化環境氣息的影響有間接關聯。因此，論文中除了直接詮釋、解讀形式的代表意義之外，戴維斯對於這兩個語彙與文化的牽連、如何運用、以及形式語彙背後深層的意涵也都是研究的重點。最終的目在於，突顯戴維斯繪畫在四○、五○年代抽象表現思潮之下的不同面向，從藝術的創作中來檢視戴維斯的藝術概念與內涵，重新審視、思考戴維斯後期的藝術貢獻與價值。

一、外文書籍
I 戴維斯專書
書籍：
Arnason, H. H. Stuart Davis. Minneapolis: Walker Art Center, 1957.
Arnason, H. H. Stuart Davis Memorial Exhibition 1984-1964. Washington, D.C.: Smithsonian Institution, 1965.
Blesh, Rudi. Stuart Davis. New York: Grove Press, 1960.
Davis, Stuart. Stuart Davis. New York: American Artist Group, 1945.
Davis, Stuart. Stuart Davis: Major Late Paintings. New York: Salander-O’Reilly Galleries, 2002.
Goossen, E.C. Stuart Davis. New York: George Braziller, 1959.
Hills, Patricia. Stuart Davis. New York: Harry N. Abrams, Inc., 1996.
Kelder, Diane (ed.). Stuart Davis: A Documentary Monograph. New York: Praeger, 1971.
Kelder, Diane. Stuart Davis: Art and Theory, 1920-31. New York: Pierpont Morgan Library, 2002.
Lane, John R. Stuart Davis: Art and Art Theory. New York: The Brooklyn Museum, 1978.
Rylands, Philip, ed. Stuart Davis. New York: Bullfinch, 1997.
Sims, Patterson. Stuart Davis: A Concentration of Works from the Permanent Collection of the Whitney Museum of American Art. New York: Whitney Museum of American Art, 1980.
Sims,Lowery Stokes. Stuart Davis: American Painter. New York: The Metropolitan Museum of Art, 1991.
Sweeney, James Johnson. Stuart Davis. New York: The Museum of Modern Art, 1945.
Weber, Bruce. Stuart Davis’ New York. West Palm Beach, Fla.: Norton Gallery and School of Art, 1985.
Wilkin, Karen and William C. Agee. Stuart Davis: Black and White. New York: Salander-O’Reilly Galleries, 1985.
Wilkin, Karen. Stuart Davis. New York: Abbeville Press, 1987.
Wilkin, Karen and Lori Potolsky. Stuart Davis (1892-1964): Motifs and Versions. N.Y.: Salander-O’Reilly Galleries, 1988.
Wilkin, Karen and Lewis Kachur. The Drawings of Stuart Davis: The Amazing Continuity. New York: The American Federation of Arts in association with Harry N. Abrams. Inc., 1992.
Wilson, William. Stuart Davis’s Abstract Argot. San Francisco: Pomegranate Artbooks, 1993.

期刊：
Bourdon, David. “Stuart Davis: Mural.” Arts Magazine 50 (Oct. 1982), pp.70-73.
Coates, Robert M. “The Art Galleries.” The New Yorker 18 (Feb. 13, 1943).
Cotter, Holland. “Swing Landscape.” Art in America (Vol. 80 Sept 1992).
Kramer, Hilton. “Stuart Davis at the Met.” The New Criterion (Vol. 10 Jan 1992).
Dennison, Mariea Caudill. “Stuart Davis: Standard Brands and Product Identities in Some Paintings of the 1920s.” The Burlington Magazine 145(Dec.7, 2003).
Harrison, Helen A. “Stuart Davis’s World of Tomorrow.” American Art ( 9 Fall 1995).
Johnson, Mark M. “The Drawing of Stuart Davis: the Amazing Continuity.” Arts & Activities (June 1993).
Kaufman, Jason Edward. “Stuart Davis, American Modernist.” The World & I (Arpil 1992).
Kachur, Lewis. “Stuart Davis and Bob Brown: The Masses to the Paris Bit.” Arts Magazine 57 (Oct. 1982).
Kachur, Lewis. “Stuart Davis: a Classicist Ecplipsed.” Art International (No. 4, Autumn, 1988).
Kelder, Diane. “Stuart Davis: All the Jazz.” Art News 91 (Feb. 1992).
Kelder, Diane. “Pragmatist of American Modernism.” Art Journal 39 (1 Fall 1979).
Kramer, Hilton. “Stuart Davis at the Met.” The New Criterion (January 1992).
Kramer, Hilton. “An American Cubist.” Art and Antiques (January 1998).
Kramer, Hilton. “Prolific Pen.” Arts & Activities (vol. 25 Dec. 2002).
Kramer, Hilton. “Late-Cubism Davis, An Abstract Master Right to the End.” New York Observer (May 6, 2002).
Kunitz, Daniel. “Stuart Davis: Major Late Paintings at Salander O’Reilly Galleries.” The New Criterion 20 (No. 10, June 2002).
Lane, John R. “Stuart Davis and The Issue of Content in New York School Painting.” Arts Magazine 52 (February 1978).
Lucas, John. “The Fine Art Jive of Stuart Davis.” Art Magazine 31 (September 1957).
McCoy, Garnett (ed). “An Interview with Stuart Davis.” Archives of American Art (Journal 31, no. 2, 1991).
O’Donovan, L.J. “Champion: Stuart Davis at the Metropolitan Museum of Art.” America (Vol. 166 March 1992).
Schiff, Bennett. “Stuart Davis was modern right down to his very roots.” Smithsonian 22, 9 (Dec 1991).
Roberta Smith, “Stuart Davis, Picture-Builder,” Art in America 54 (Sept-Oct, 1976).
Teilman, Herdis B. “Composition Concrete, 1957, by Stuart Davis.” Carnegie Magazine 54 (May 1980).
Unger, Miles. “Stuart Davis in Gloucester at the Cape Ann Historical Museum.” Art New England 20, 6 (Oct/Nov. 1999).
Zabel, Barbara. “Stuart Davis’s Appropriation of Advertising: the Tobacco Series, 1921-1924.” American Art 5 (Fall 1991).
Zabel, Barbara. “The Avant-Garde Automaton Two Collages by Stuart Davis.” Archives of American Art 32, 1 (1992).

II. 其他相關書籍與期刊
書籍：
Art in America ed. The Artist in America. New York: Norton, c. 1967.
Anfam, David. Abstract Expressionism. London: Thames and Hudson, 1990.
Arnason, H.H.and Marla F. Parther, (4th ed). History of Modern Art: painting, sculpture, architecture, photography. New York: Harry N. Abrams, Inc., 1998.
Baigell, Matthew. A Concise History of American Painting and Sculpture. New York: Harper & Row, 1984.
Barnicoat, John. Posters. New York: Thames & Hudson 1991.
Baur, John I. H. Revolution and Tradition in Modern American Art. Cambridge: Harvard University Press, 1951.
Blesh, Rudi. Modern Art U. S. A.: Men, Rebellion, Conquest, 1900-1956. New York: Alfred A. Knopf, 1956.
Buettner, Stewart. American Art Theory 1945-1970. Ann Arbor, Mich: UMI Research Press, 1981.
Bjelajac,David. American Art: A Cultural History. London: Laurence King, 2000
Calo, Mary Ann ed. Critical Issues in American Art. Boulder, Colo.: Westview Press,c 1998.
Cage, John. Color and Meaning. London: Thames & Hudson Ltd., 1999.
Cassidy, Donna M. Painting the Musical City: Jazz and Cultural Identity in Ameican Art, 1910-1940. Washington and London: Smithsonian Institution Press, 1997.
Craven, Wayne. American Art: History and Culture. New York: McGraw-Hill, c.2003.
Dempsey, Amy. Style, Schools, and Movement: an Encyclopedic Guide to Modern Art. London: Thames & Hudson, 2002.
Doezema, Marianne. American Realism and the Industrial Age. Ohio: The Cleveland Museum of Art, 1980.
Fineberg, Jonathan. Art Since 1940. London: Laurence King, 1995.
Goldwater, Robert and Marco Treves ed. Artists on Art From the 14th -20th Centuries. London: John Murray, 1976.
Gopnik, Adam and Kirk Varnedoe (ed.), Modern Art and Popular Culture: Readings in High & Low. New York: Harry N. Abrams, Inc., 1990.
Gridley, M.C. Jazz Style: History and Analysis. Englewood Cliffs, NJ: Prentice-Hall, 1985.
Guilbaut, Serge (Arther Goldhammer trans). How New York Stole the Idea of Modern Art: Abstract Expressionist, Freedom, and the Cold War. Chicago and London: The University of Chicago Press, 1983.
Harrison, Charles and Paul Wood (ed.). Art in Theory 1900-1990. Cambridge, Mass: Blackwell, 1993.
Harrison, Charles and Francis Frascina, Jonathan Harris and Paul Wood ed. Modernism in Dispute: Art Since the Forties. New Haven: Yale University Press, in association with the Open University, 1993.
Hoffman, Katherine. Explorations the Visual Arts Since 1945. New York: Harper Collins, 1991.
Hunter, Sam and John Jacobus. American Art of the 20th Century. New York: Harry N. Abrams, 1972.
Joachimides, Christos M. and Norman Rosenthal (Ed). American Art in the 20th Century Painting and Sculpture 1913-993. London: Prestel, 1993.
Johnson, Ellen H. Modern Art and the Object. New York: Harper & Row, c1976.
Lippard, Lucy R. Pop Art. New York: Thames & Hudson, 1991.
Lucie-Smith, Edward. Lives of the Great 20th Century Artists. New York : Thames and Hudson, 1999.
May, Larry ed. Recasting America. Chicago and London: The University of Chicago Press, 1989.
Meecham, Pam and Julie Sheldon. Modern Art: A Critical Introduction. London and New York: Routledge, 2000.
Mendelowitz, Daniel M. A History of American Art, New York: Holt, Rinehart and Winston, 1970.
O’Brain, John ed. Clement Greenberg: the Collected Essays and Criticism. Chicago: The University of Chicago Press, 1986 and 1993.
O’Doherty, Brian. The American Masters: the Voice and the Myth. London: Thames and Hudson, 1988.
O’Meally , Robert G.(ed). The Jazz Cadence of American Culture. New York: Columbia University Press, 1998.
Ostransky Leroy. The Anatomy of Jazz. Wesport, Connecticut: Greenwood Press, 1973.
Panassi, Hugues. The Real Jazz. Connecticut: Greenwood Press, 1973.
Peretti, Burton W. Jazz in American Culture. Chicago: Ivan R. Dee, 1997.
Preziosi, Donald. The Art of Art History : A Critical Antholog. Oxford ; New York : Oxford University Press, 1998.
Rosenberg, Harold. The Tradition of the New. New York: Horizon Press, 1959.
Rosenberg, Harold. The De-definition of Art. Chicago: University of Chicago Press, c1983.
Rosenblum, Robert. Cubism and 20th Century Art. New York: Harry N. Abrams, Inc., 1966.
Rosenblum, Robert. On Modern American Art. New York : Harry N. Abrams, 1999.
Rose,Barbara. Readings in American Art. New York : Praeger, 1975.
Stangos, Nikos. Concepts of Modern Art. London: Thames and Hudson, 1981.
Stebbins,Theodore E. Jr., and Carol Troyen. The Lane Collection. Boston: Museum of Fine Arts, 1983.
Tanner, Paul O. W., and Maurice Gerow. A Study of Jazz (4th ed.). Dubuque, Iowa: W. C. Brown, 1981.
Ward, Geoffrey C. Jazz : a history of America's music. New York: Alfred A. Knopf, 2000.
Welmerding, John. Signs of the artist : signatures and self-expression in American paintings. New Haven: Yale University Press, c2003.
Wood , Paul (ed). Modernism in Dispute: Art since the Forties. New Haven: Yale University Press, 1993.

期刊：
Behrens, Roy R. “Art, Design and Grestalt Theory.” Leonardo 31, 4 (1998).
Bowman, Russell. “Words and Images: A Persistent Paradox.” Art Journal (Winter 1985).
Campen, Crtien van. “Early Abstract Art and Experimental Gestalt Psychology.” Leonardo 30 (No. 2, 1997).
Freeman, Judi. “The Visible Word: Experimental Typography and Modern art, 1909-1923.” Art Journal (Summer 1995).
Hadler, Mona. “Jazz and the Visual Arts.” Art Magazine (June 1983).
Risatti, Howard. “Music and the Development of Abstraction in American: The Decade Surrounding the Armory Show.” Art Journal (Fall 1979).
Peter, Carolyn. “Henri Matisse: Works on Paper.” USA Today (July 2001).
Staudter, Thomas. “Bridging Jazz and Fine Arts.” New York Times (Jan 14, 2001).
Sartorius, Tara Cady. “Show Me A Sign.” Arts and Activities (April 2003).
Teachout, Terry. “Jazz as Modern Art.” Commentary (vol. 115, no. 1, January 2003).

二、 中文書籍：
陸蓉之，《後現代的藝術現象》，台北：藝術圖書公司，1990。
Edward F. Fry 編，陳品秀譯，《立體派》(Cubism)，台北：遠流，1991。
Willy Rotzler，《物體藝術》(Objekt Kunst)，台北：遠流，1992。
Lucy R. Lippard，《普普藝術》(Pop Art)，張正仁譯，台北：遠流，1992。
Rudolf Arnheim，《藝術心理學新論》(New Essays on the Psychology of Art)，郭小平、瞿燦譯，台北：台灣商務，1992。
Robert Hughes，《新世界的震撼》(The Shock of The New)，張心龍譯，台北：遠流，1992。
劉思量，《藝術心理學：藝術與創造》，台北：藝術家出版，1992。
Jean-Pierre Fichou，《美國文化》，宋亞克譯(台北：遠流，1993)。
高千惠，《當代文化藝術澀相》(台北：藝術家出版社，1996)。
洪萬隆，《音樂與文化》，高雄：復文，1996。
Wolfgang Kohler，《完形心理學》，李珊珊譯，台北：桂冠，1998。
Frank Tirro，《爵士音樂史》，顧連理譯，臺北市：世界文物出版社，1998。
林書堯，《色彩認識論》，台北：三民，1999。
Miller, Hugh M., Paul Taylor and Edgar Williams，《音樂概論》，台北：桂冠，1999。
Robert Atkins,，《藝術開講》，黃麗絹譯，台北：藝術家出版社，2000。
Rudolf Arnheim，《視覺思維》(Visual Thinking)，滕守堯譯，四川：四川人民出版社，2001。
Eric J. Jobsbawm，《非凡小人物：反對、造反及爵士樂(下)》(Uncommon People: Resistance, Rebellion and Jazz)，蔡宜剛譯，台北：麥田，2002。
曾啟雄，《色彩的科學與文化》，台北：耶魯國際文化，2003。