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David Smith

American Sculptor

Movement: Abstract Expressionism

Born: March 9, 1906 - Decatur, Indiana

Died: May 23, 1965 - Bennington, Vermont

David Smith Timeline

Important Art by David Smith

The below artworks are the most important by David Smith - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Helmholtzian Landscape (1946)
Artwork Images

Helmholtzian Landscape (1946)

Artwork description & Analysis: Smith titled the early and relatively small-scale sculpture Helmholtzian Landscape in reference to a nineteenth-century German scientist who studied perception. Here, Smith draws on Cubist and Surrealist painting, translating these precedents - replete with color - into three dimensions, to create a tableau that suggests a figure standing amid foliage. Works such as this were important in shaping Smith's idea of "drawing in space," and they have also encouraged critics to liken his work to that of the Abstract Expressionist painters.

Steel, painted blue, red, yellow and green - Kreeger Museum, Washington D.C.

Hudson River Landscape (1951)
Artwork Images

Hudson River Landscape (1951)

Artwork description & Analysis: Hudson River Landscape offers an abstract representation of the area around Smith's Bolton Landing home. It relates to a number of works he produced in this period with pastoral themes. It can be read as translating the expressive, gestural style and automatist principles of Abstract Expressionist painting into sculptural form. Despite its materials, it achieves a surprising weightlessness, due to the sculpture's arcing lines and open construction. Moreover, this work has often been seen as a breakthrough piece for Smith, because its inspiration was a landscape, and not a figure (the monumental figure being the oldest and most traditional form of sculpture).

Welded steel - Whitney Museum of American Art, New York

Tanktotem I (1952)
Artwork Images

Tanktotem I (1952)

Artwork description & Analysis: Tanktotem I is the first piece in Smith's eponymous series of welded-steel sculptures that he worked on from 1952 until 1960. In this piece, he combined found metal objects into an anthropomorphic, totemic form, a symbol of universal humanity. As the critic Rosalind Krauss has argued, the totem, and the idea of totemism, was an important symbol for Smith. He believed, following Freud, that totemism operated in primitive societies as a means to discourage incest. Members of the tribe were encouraged to identify with different totems, often representing animals, and the laws which applied to those animals - perhaps not to eat them, or approach them - applied also to those other members of the tribe associated with the animals. Hence, for Smith, the totem suggested an art object that might strike fear into humanity and prevent conflict. But the idea of the totem pole also answered to his formal interest in collage. Tanktotem I has been read as representing two human figures, or two birds, joined at the neck, one looking left, the other right.

Steel - Art Institute of Chicago

Agricola V (1952)
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Agricola V (1952)

Artwork description & Analysis: Agricola V (along with all of the work in the Agricola series) was created using elements from old farm tools, a formal and aesthetic decision that demonstrates the artist's lasting connection to the materials and ethos of industrialized America. In this piece, Smith combined this distinctly American perspective, his interest in totemic forms, and his signature use of spot-welding techniques to create a personal and unique sculptural language. Many of the works in the Agricola series stand on thin linear supports, just as this does. The sculpture represents a bird, though the motif is somewhat concealed by Smith's desire to incorporate qualities of abstraction and symmetry, qualities that run throughout the series.

Steel - Private collection

Cubi XIX (1964)
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Cubi XIX (1964)

Artwork description & Analysis: Composed entirely of geometric rectilinear and spherical shapes, Smith's Cubi series (1963-65) exhibits perhaps the artist's most obvious reference to Cubism in his work. His singular style is apparent in the dynamism created by balancing objects precariously and playfully in a three-dimensional yet strangely flattened space. The burnished metal used in the series is also important in suggesting weightlessness, while also preventing the viewer from fully appreciating all of its parts at once, since they are liable to give off reflective glares. The series has been talked of as representing heroic figures, or architecture, and it might be read as the culmination of Smith's "drawing in space," an idea that preoccupied him throughout the 1950s. Here, however, instead of using thin wire or found objects to make his "drawings," he uses geometrical shapes - these being for Smith just another type of found object. This series was particularly influential in the 1960s.

Stainless steel - Tate Gallery, London

Voltri VI (1962)
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Voltri VI (1962)

Artwork description & Analysis: Smith created his Voltri series (1962) in an abandoned Italian steel factory. The curved forms (or "chopped clouds," as he called them) that rise from the Voltri VI are repurposed, irregular factory discards left over after the metal had been rolled out and flattened. The wheels that provide the base for this piece not only subvert the expectation of a traditional sculptural plinth, but also reference Giacometti's wheeled sculptures, the wheeled carts Smith used in his own studio, and, perhaps, even the locomotives that the artist played on as a child.

Steel - Raymond and Patsy Nasher Collection, Dallas



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David Smith Photo

Related Art and Artists

Still Life with Chair Caning (1912)
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Still Life with Chair Caning (1912)

Artist: Pablo Picasso

Artwork description & Analysis: Still Life with Chair Caning is celebrated for being modern art's first collage. Picasso had affixed preexisting objects to his canvases before, but this picture marks the first time he did so with such playful and emphatic intent. The chair caning in the picture in fact comes from a piece of printed oilcloth - and not, as the title suggests, an actual piece of chair caning. But the rope around the canvas is very real, and serves to evoke the carved border of a café table. Furthermore, the viewer can imagine that the canvas is a glass table, and the chair caning is the actual seat of the chair that can be seen through the table. Hence the picture not only dramatically contrasts visual space as is typical of Picasso's experiments, it also confuses our sense of what it is that we are looking at.

Oil on canvas - National Gallery, London

Suspended Ball (1930-31)
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Suspended Ball (1930-31)

Artist: Alberto Giacometti

Artwork description & Analysis: Although works like Gazing Head caught the attention of the Surrealists, it was Suspended Ball, first exhibited at Galerie Pierre in 1930, that prompted André Breton to invite Giacometti to join the group. The sculpture's white globular form - at once floating freely and trapped in a cage - and the enigmatic segment below it, all evinced the dream-like and erotic qualities that the Surrealists adored. In fact, following the 1930 group exhibition, Salvador Dalí contributed an article on Surrealist objects for Breton's periodical, inspired by Suspended Ball. Despite this association with Breton's group, critics have also associated the sculpture with the ideas of Breton's rival, Georges Bataille. It has been argued that the elements in the sculpture are deliberately enigmatic, since while they seem to suggest a sexual act, it is unclear which element is male and which female. This confusion of categories has been said to encapsulate Bataille's notion of informe, or formlessness.

Metal, cord, plaster - Tate Gallery, London

Blue Still Life (1931)
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Blue Still Life (1931)

Artist: John Graham

Artwork description & Analysis: In the early 1930s, Graham's work continued to reveal the influence of Picasso through his preoccupation with cubism and the simplification of form and color. In Blue Still Life , Graham stopped short of total abstraction, but essentially eliminated depth and reduced his palette to a single tone. The image of the fish and the table upon which it sits is represented by a minimum of lines and interlocking geometric shapes. This work reflects a major shift away from the more realistic works of the 1920s, presaging his abstract work throughout the 1930s and early 1940s.

Oil on canvas - The Phillips Collection

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Content compiled and written by David Kupperberg

Edited and published by The Art Story Contributors

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Content compiled and written by David Kupperberg
Edited and published by The Art Story Contributors
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