拍品 14
  • 14

大衛·史密夫

估價
3,000,000 - 4,000,000 USD
已售出
6,663,300 USD
招標截止

描述

  • David Smith
  • 《過山車》
  • 款識:藝術家銘刻簽名並紀年2/10/60
  • 著色鋼

來源

藝術家身後
法蘭克·洛伊德伉儷,拿索(1969年12月購自上述來源)
皮耶·施倫貝格爾女士,巴黎
紐約佳士得,1993年11月9日,拍品編號24(由上述藏家委託)
私人收藏
紐約蘇富比,1994年11月1日,拍品編號20(由上述藏家委託)
佩斯畫廊,紐約
現藏家1995年購自上述畫廊

展覽

紐約,法蘭奇畫廊,〈大衛·史密夫雕塑〉,1960年2月-3月,品號21

紐約,所羅門‧R‧古根海姆美術館;達拉斯,達拉斯美術館;華盛頓哥倫比亞特區,科科倫藝術館,〈大衛·史密夫〉,1969年3月-12月,114頁,品號67,載圖

出版

大衛·史密夫,〈創作筆記〉,《Arts雜誌》,第34期,品號5,1960年2月,47頁載圖(未完成圖,攝於史密夫位於博爾頓區的工作室)

展覽圖錄,麻省劍橋,哈佛大學福格藝術博物館(及巡展),《大衛·史密夫1906-1965年:回顧展》,1966年,78頁,品號391(內文)

大衛·李,〈大衛·史密夫在古根海姆美術館〉,《Le Arti雜誌》,第XIXI期,1969年9月9日,31頁載圖

克萊費·格雷(編),《大衛·史密夫眼中的大衛·史密夫:雕塑及文章》,紐約及倫敦,1968年,136頁載圖(未完成圖,攝於史密夫位於博爾頓區的工作室)

羅莎琳德·E·克勞斯,《極限鐵藝:大衛·史密夫雕塑》,劍橋,1971年,9頁載圖(未完成圖,攝於史密夫位於博爾頓區的工作室)

帕特里夏·雷林,〈1940-1959年美國雕塑〉,《二十世紀藝評雜誌》,第40期,1973年6月,157頁載圖

羅莎琳德·克勞斯,《大衛·史密夫雕塑專題目錄》,紐約及倫敦,1977年,90頁,品號490(內文),載圖頁碼不詳

展覽圖錄,華盛頓哥倫比亞特區,國家藝術館,《大衛·史密夫》,1982年,31頁載圖(未完成圖,攝於史密夫位於博爾頓區的工作室);31-33頁(內文);173-174頁(內文);176頁,品號4,載圖

斯坦利·E·馬庫斯,《大衛·史密夫其人與其作》,伊薩卡,1983年,125頁,品號49,載圖(未完成圖,攝於史密夫位於博爾頓區的工作室)

展覽圖錄,杜塞爾多夫,北萊茵及西法倫藝術收藏館(及巡展),《大衛·史密夫:雕塑及素描》,1986年,44頁載圖(未完成圖,攝於史密夫位於博爾頓區的工作室)

展覽圖錄,紐約,高古軒畫廊,《大衛·史密夫:相關線索》,2004年,3頁及35頁載圖(未完成圖,攝於史密夫位於博爾頓區的工作室)

展覽圖錄,達拉斯,德克薩斯州,納希爾雕塑中心,《大衛·史密夫:素描及雕塑》,2005年,47頁,品號10,載圖(未完成圖,攝於史密夫位於博爾頓區的工作室)

展覽圖錄,杜塞爾多夫,威廉·雷姆布魯克基金會博物館,《大衛·史密夫:創作介面-油畫、雕塑及素描1932-63年》,2009年,96頁,品號4,載圖(未完成圖,攝於史密夫位於博爾頓區的工作室)

展覽圖錄,華盛頓哥倫比亞特區,菲利普美術館,《大衛·史密夫的創造》,2011年,79頁載圖(未完成圖,攝於史密夫位於博爾頓區的工作室)

莎拉·哈米爾,《大衛·史密夫:創作、文章及訪談》,巴塞羅那,2011年,68頁載圖(未完成圖,攝於史密夫位於博爾頓區的工作室)

莎拉·哈米爾,《平面的大衛·史密夫:攝影及雕塑物質》,奧克蘭,2015年,7頁,品號5,載圖(未完成圖,攝於史密夫位於博爾頓區的工作室)

蘇珊·J·庫克(編),《文章、講座及訪談集》,奧克蘭,2018年,337頁(內文)

拍品資料及來源

One of the most distinguished sculptors of the post-war period, David Smith radically introduced the language of industrial manufacturing and metallurgy into post-war fine art , expressing through his large-scale sculptural compositions the mythology of Abstract Expressionist painters. Executed in 1960, Land Coaster is an early example of Smith’s mastery of metallurgy and his experimental handling of three-dimensional space and form. The welded elements of Land Coaster present an elegant yet weighty presence that, conceptualized around open spaces rather than carved in concrete form, testify to Smith’s sophisticated genius for balancing void and solid within a single sculpture, and his appreciation for figurative and natural imagery while prioritizing sculptural integrity. Contributing to the importance of the present work in Smith’s grand oeuvre, Land Coaster belongs to a limited number of sculptures beginning in 1957 with Wheel III which incorporate wheels as an integral element of their design, the inclusion of which as a purely aesthetic element with no intended utilitarian purpose radically collided pure form with industrial use value. Undoubtedly influenced by Alberto Giacometti’s Chariot executed ten years prior in 1950, Land Coaster refers back to Smith’s earliest body of works which more clearly reveal the influence of Giacometti’s sculptural Surrealism, while simultaneously showcasing Smith’s innovative spirit and experimental approach to sculpture.

In Land Coaster, star-like metal disks rise out of the wheeled platform base, pre-existing elements which Smith has intricately welded together in a collage-like composition such that they sweep skyward with a degree of movement and agility that belies the weightiness of the metal elements and brings to mind the clustering of stars in an astronomical constellation. Demonstrating Smith’s captivating ability to suggest latent figuration through total abstraction, Land Coaster carefully retains a sense of the human figure: a circular disk crowns the top of the vertical structure like a head, and the two wheels at its base ground Land Coaster like feet. In its intricate geometric logic and arresting frontality, the present work is particularly evocative of the artist’s Cubi sculptures; evincing the captivating juxtaposition of abstract form with compelling figuration for which the revered Cubi are known.

In a series of oft-reproduced photographs, Land Coaster is remarkably captured in progress on Smith’s garage studio floor at Bolton Landing and identified by Smith himself with inscriptions on the photograph. Capturing Land Coaster in a state of half-completion magnificently reveals the collage-like approach of found readymade materials that Smith took to his sculptural compositions. Assuming approximately the positions of their ultimate three-dimensional arrangement, the distinct elements of Land Coaster here lay arranged on a strip of floor which Smith painted white. This approach uniquely allowed Smith to compose and rearrange elements without concern of gravity, and the white floor provided him a sharp contrast of color that facilitated his ability to imagine negative space in the finished work. This photograph also reveals numerous works underway in varying stages of completion, notably Doorway on Wheel, also from 1960 and now in the permanent collection of the Harvard Art Museum. That Smith simultaneously worked on and revised numerous sculptures at once reveals the meticulous consideration and painstaking deliberation he paid each element and the collaborative approach he took to creating these sculptures, each informing and influencing one another. Magnificently capturing Smith’s exceptional craftsmanship and exemplifying his revolutionary understanding of sculpture as “drawing in space”, Land Coaster is an enduring monument to the legacy of one of American postwar art’s most radical sculptural innovators. 

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