David Smith is often seen as the Jackson Pollock of modern sculpture, the artist who transformed European innovations (in welded steel above all) into an American idiom of expanded scale and expressive power. Like most legends in art history, this isn't false, despite the immediate catch that his greatest follower, Anthony Caro, is English. Yet it does play too neatly into the usual story of Modernist art: that it was smashed by Fascism and totalitarianism in prewar Europe, then triumphally restored in postwar America as the analogue of American Freedom.

LRB 9 March 2006 | PDF Download