Davis paints his first self-portrait in oil.

Supplies drawings to magazine Judge and newspaper the World.

Co-founds portfolio magazine Spawn with Glintenkamp and submits drawings.

Exhibits paintings in the inaugural exhibition at the Gallery-on-the-Moors in Gloucester, Massachusetts.

Participates in the First Annual Exhibition of the Society of Independent Artists held at Grand Central Palace in New York.

Has his first solo exhibition at the Sheridan Square Gallery in New York (forty-four works).

Contributes illustrations to The Liberator (formerly The Masses). Continues to submit drawings through 1922.

Davis works on the Tobacco Still Life series.

Shows fifteen works in Exhibition of Paintings by Stuart Davis and J. Torres-Garcia and Sculptures by Stanislaw Szukalski at the Whitney Studio Club, New York.

Joins the Modern Artists of America and subsequently exhibits with them at the Joseph Brummer Galleries in New York.

Becomes a director of the Society of Independent Artists.

Helps to organize the Gloucester Society of Artists.

Shadowland publishes his article "A Painter of City Streets: An Analysis of the Work of Glenn Coleman".

Exhibits works with the Gloucester Society of Artists and will continue to do so every year until 1926.

Establishes lifelong friendship with Holger Cahill, who works for Newark Museum and subsequently serves as the national director of the Works Progress Administration in Washington, D.C.

The Whitney Studio Club holds a retrospective exhibition of his paintings showing forty-three works.

Edith Gregor Halpert's Downtown Gallery exhibits his works and holds his first solo exhibition. The professional relationship with the Downtown Gallery will last for the majority of the next thirty-seven years.

On behalf of Mrs. Whitney, Juliana Force of the Whitney Studio Club, provides Davis with $900 for his trip to Paris by purchasing two of his paintings.

Socializes with Niles Spencer, John Graham, Robert Carlton Brown, and Elliot Paul, and meets with Gertrude Stein and Fernand Léger while in Paris.

The Whitney Studio Galleries features a show of Davis's recent watercolors.

Begins to receive a monthly stipend from Edith Halpert in exchange for selections of his painting output. In 1933, Halpert can no longer provide the monthly stipend.

Painting and Sculpture by Living Americans at the recently opened Museum of Modern Art includes three of Davis's paintings.

The New York-Paris works are exhibited in a one-man show at the Downtown Gallery in March and in December, the Crillon Galleries of Philadelphia holds a one-man exhibition.

Two works included in show at Museum of Modern Art in May.

Receives a mural commission from the interior designer Donald Deskey for the men's lounge at Radio City Music Hall in New York City (Men Without Women).

A painting is included in the Whitney Museum of American Art's First Biennial of Contemporary American Painting.

The Downtown Gallery features a one-man show of Davis's recent paintings and watercolors.

One of his works is included in a group exhibition at the Museum of Modern Art.

Meets with Alexander Trachtenberg, Hugo Gellert, and others in order to create the American Artists' Congress.

Receives nomination for the position of vice president of the Artists' Union.

He serves as executive secretary of the American Artists' Congress.

Participates in the annual membership exhibitions of the American Artists' Congress in 1937 and 1938 and is elected national chairman.

Sponsored by the WPA, Davis creates Mural for Studio B, WNYC, Municipal Broadcasting Company for the New York city radion station.

Due to employment length regulations, leaves the WPA and loses main source of income.

Paints the Bass Rocks series.

The Museum of Modern Art acquires its first painting by Davis, Summer Landscape.

The Metropolitan Museum of Art's exhibition Artists for Victory includes Bass Rocks #1, 1939.

Wins first prize for The Terminal, 1937, at Pepsi-Cola's "Portrait of America" exhibition. The work is reproduced for the 1945 Pepsi-Cola calendars as January's illustration.

Report from Rockport, 1940, is purchased by Edith and Milton Lowenthal, future friends of Davis and major collectors of his work.

The Museum of Modern Art holds retrospective exhibition, including fifty-three works.

Autobiograpical monograph published as part of a series of volumes on leading contemporary American artists by the American Artists Group.

The Container Corporation of America commissions Davis to create a painting for its State series (Pennsylvania). The company uses it in advertisements until 1950.

One-man exhibition held at the Baltimore Museum of Art.

Four of his works are exhibited in Advancing America, a controversial paintings exhibit acquired by the U.S. Department's Office of Cultural Affairs.

Named one of the best American painters in a poll of museum directors and critics carried out by Look magazine.

Wins Norman Wait Harris Bronze Medal for Ana, 1942.

The Bienal São Paulo in Brazil features three of his works.

Wins Ada S. Garrett Prize at the Art Institute of Chicago.

Solo exhibition at the United States Pavilion at the Venice Biennale.

The Museum of Modern Art purchases further works.

The Downtown Gallery holds a retrospective exhibition of works by Davis and Yasuo Kuniyoshi.

Based on his interest in the "four-color problem", starts to limit his paintings palette to four or five colors.

The Downtown Gallery holds solo exhibition of his recent paintings.

The American group show at the Venice Biennale includes Something on the 8 Ball, City, 1953-54.

Solo exhibition at the Downtown Gallery features fourteen paintings and gouaches.

Stuart Davis, a traveling retrospective exhibition including fifty-five works, is first held at the Walker Art Center, Minneapolis.

Davis's last mural Composition Concrete created for the H.J. Heinz Research Center, Pittsburgh.

Owh! in San Pão receives majority of nominations in American museum directors' poll carried out by New York Magazine for an American artwork made after WWII to endure.

Awarded Solomon R. Guggenheim Museum International Award with fellow artists Edward Hopper, Franz Kline, Willem de Kooning, and Mark Rothko.

The Whitney Museum of American Art acquires The Paris Bit, 1959.

George Braziller, Inc., publishes Stuart Davis, a monograph, as part of the Great American Artists series.

Première, 1957, captures the National Section of the Guggenheim International Award.

Davis's last published illustration is featured in Art in America.

Interviewed for the Archives of American Art.

Wins the American Institute of Architects' Fine Arts Gold Medal.

Standard Brand, 1961, is awarded with the Mr. and Mrs. Frank G. Logan Art Institute Medal and Prize at the Art Institute of Chicago.

Artnews magazine publishes his last interview in September.

Stuart Davis dies on June 24 in New York City from a stroke, and is buried in Springs, New York.

The Pennsylvania Academy of the Fine Arts holds a retrospective exhibition including twenty-five works. Further memorial exhibitions organized by the National Collection of Fine Arts, Washington, D.C., and the United States Information Agency.

The United States Post Office issues a commemorative stamp based on one of Davis's compositions in December.