When Ready-to-Wear was painted in 1955, one of the prevailing artistic styles was Abstract Expressionism. And at first glance, it's easy to see how this painting might be grouped with the works of Pollock or Rothko. But as you look a little closer and learn more about Stuart Davis's intentions, you'll begin to recognize his distinctive modernist style and understand how this painting fit into his artistic agenda of portraying real life in modern America and reflecting the everyday experience.
The title refers to ready-to-wear clothing, a phrase that was introduced in a Montgomery Ward catalogue in 1895 and referred to clothing that was made in factories in standard sizes, as opposed to clothing that was tailored specifically for the wearer. The development of ready-to-wear made store-bought clothing imminently more accessible.
Knowing his inspiration, you can begin to read the the different shapes of color as scraps of fabric on a black table. In the top right, you'll see an 'X' shape that perhaps indicates a pair of scissors. The vibrancy of the colors also contribute to a sense of movement that might represent the energy of the burgeoning fashion industry.
The Art Institute acquired this painting in 1956, just a year after it was painted, from Davis's New York dealer. At the time, Art Institute curator Katharine Kuh wrote about her excitement in adding it to the museum's collection:
[Director] Dan Rich is crazy about the picture and, as you know only too well, I am too. Naturally, we have to put it through our Committee meeting but I foresee only delight on their part.
If you feel similarly, you can vote for this painting on Art Everywhere and it could be chosen to be a part of the largest outdoor art exhibition ever. Click here before May 7 to vote.
Image Credit: Stuart Davis. Ready-to-Wear, 1955. Restricted gift of Mr. and Mrs. Sigmund W. Kunstadter; Goodman Endowment.
10 hours 6 min ago The Art Institute of Chicago Just like the museum's collection comes from artists around the world, so does the Museum Shop’s assortment of products. We source exclusive products from artisans that are inspired by the cultures, mediums, and techniques represented in our museum collection. View our assortment of unique items from India.
19 hours 14 min ago The Art Institute of Chicago NOW ON VIEW—Provoke: Photography in Japan between Protest and Performance, 1960–1975
Provoke was the English-language title for a Japanese photo magazine of the late 1960s; the name also designates the group of photographers and writers who put that formative publication together. Their influence has grown so great that the “Provoke era” is now international shorthand for sixties counterculture in Japan. This generational uprising swelled from the massive unrest, and sheer cultural disorientation, that accompanied the country’s transformation from ruined empire to superpower after World War II.
This exhibition places the achievements of Provoke alongside those of protesters and protest collectives, who made riveting photobooks, films, and photographs throughout the same era, as well as artists and art collectives keenly interested in live performance and its relation to the mechanical image.
22 hours 47 min ago The Art Institute of Chicago NEW ACQUISITION—In the early decades of the sixteenth century, Antwerp was a great center of commerce, finance, and luxury trade. The Flemish city attracted innovative painters like Quentin Massys, Jan Gossart, and Joos van Cleve working in a style that combined northern traditions with Italianate forms. Numerous other painters, whose work is only known under names of convenience, like the Master of the Lille Adoration, swelled the ranks of the Antwerp guild.
Saint Jerome in Penitence (by the Master of the Lille Adoration) is an ideal addition to our collection and can be seen alongside other exemplary paintings from Renaissance Antwerp—on view in Gallery 207.