David Smith Art

Untitled (Kneeling Male Nude) Graphite on paper, c. 1930 Unsigned Annotated in pencil verso: "This drawing was made by David Smith in the Matulka class at A. S. L. 1931 Signed Doroth...

Organic Modern footed glass has graphic shape with abstract geometrical pattern of fused blue, red, and white glass layered with cobalt blue glass. Colored glass core is enclosed in...

"Untitled" is a painting by American artist David Smith. David Smith’s paintings from the 1930s rarely come to market, and when Untitled (Billiard Players) surfaced at a Christie’s auction in 2018, it created quite a stir, realizing an impressive price of $1.15 million. Painted around the same time, Untitled shares many similarities with Untitled (Billiard Players). Both paintings affirm Smith’s place among the American artists when ideas and style began to intermingle and coalesce around Picasso’s innovations. Uniquely positioned in temperament and ability, Smith was a man of considerable ambition whose direct-metal configurations would have much to do with achieving new ideas about abstraction. Yet all along, he insisted he was a painter, not a sculptor who painted. Paintings by Smith...

"Untitled" is a painting by artist David Smith. The work is signed and dated in the upper left "David Smith (symbol) 1936". When David Smith set up a workshop on the Brooklyn Navy Pier in 1933 to learn direct-metal techniques, he shared the space not with artists, but with professional welders. Yet as he stated in 1964, ‘…all my early friends were painters…I never conceived of myself as anything other than a painter because my work came straight through the raised surface.’ Picasso and Cubism would be dominant influences in Smith’s work. He understood that Picasso imagined the world as a sculptor might, and not necessarily limited to the unavoidable impact of Cubism. In addition to pursuing a kind of rethinking of the world in three-dimensionality on his own terms, by the late 1920s, Picasso had shown interest in surrealism. That meant drawing not as a depiction of reality, but rather as a reconfiguration of the body in an assemblage of often precariously balanced, interconnected forms — some expressed in a three-dimensional form, others as drawings or paintings. Those processes are reflected in this work by David Smith; three fanciful totemic assemblages set within a landscape perspective of ground, mountains, and sky and whose presence is surreal enough to cast shadows under a presumed solar presence. Untitled, 1936 embraces surrealism, yet also serves to demonstrate the extent to which his thought processes are inextricably linked to sculpture and related to scale, spatial orientation, and three-dimensionality. With that in mind, it is not surprising to know that Smith saw no demarcation between sculpture and painting, or that a painting such as Untitled (1936) can exist outside of planning or design for future three-dimensional work. Provenance: Estate of David Smith, New York Hauser & Wirth Private Collection Exhibition: Kunstsammlung Nordrhein-Westfalen, ‘David Smith: Skulptureen, Zeichnungen [David Smith: Sculpture and Drawings]’ Dusseldorf/DE, March 14 – April 27, 1986 (travelled to: Städtische Galerie im Stäelschen Kunstinstitut, Frankfurt/DE, June 19 – September 28, 1986: Whitechapel Art Gallery...

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To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...

Felt-tip pen and ink and pencil on paper. Dated and extensively annotated in ink on recto. Study for the same-titled steel sculpture, 1956, Yale University Art Gallery, New Haven.

For David Smith, America's greatest sculptor of the twentieth century, there is little difference between drawing, painting, and sculpture. He easily moved from one medium to the next and indeed one subject to the next, such that a drawing could be a unique object in its own right or a sculpture could in turn be an inspiration for a drawing. Smith was an artist of the outdoors; his work bears the mark of his surroundings. Black lines on white paper can suggest natural elements like sticks in a snow-covered field, or even less empirical and rather conceptual renderings of his sculpture imagined within the same snow-covered field. This oil on canvas painting is signed with the Greek letters "Delta Sigma...