May 7, 2022 · In Egg Beater No. 1, Davis eliminated all recognizable traces of the still life objects, leaving only a complex composition of colors and overlapping geometric shapes whose interlocking planes suggest the influence of Pablo Picasso’s Synthetic Cubism.

Apr 18, 2022 · In Egg Beater No. 1, Davis eliminated all recognizable traces of the still life objects—leaving only this complex composition of colors and overlapping geometric shapes. But as he later explained, he resisted the idea of abstraction.

Dec 5, 2017 · Between the late fall of 1927 and the spring of 1928, Stuart Davis devoted himself to working on what became known as “the Egg Beater Series.” He nailed a fan, a rubber glove, and an eggbeater to a table top and spent months painting this composition.

Egg Beater No. 4 is the final work in Davis’s noted Egg Beater series of 1927–28, in which he achieved an original abstract style. He had been exploring abstraction as early as 1913, when he admired the works of Cézanne, Léger, and Picasso at the Armory Show.

In Egg Beater No. 2, the second work in the series, Davis fused the still-life elements within a diamond-like central shape in a palette of pastel colors. The ordinary household objects become unrecognizable as vigorous patterns of intersecting, flat, geometric forms.

Egg Beater, V. 1930. Oil on canvas. 50 1/8 x 32 1/4" (127.3 x 81.9 cm). Abby Aldrich Rockefeller Fund. 122.1945. Painting and Sculpture.

In 1927, Stuart Davis affixed an eggbeater, a rubber glove, and an electric fan to a table in his studio. This combination of modern appliances, reminiscent of Dada's appreciation for absurd pairings, became the focal point of his art for a year.