Untitled (Study for 2 Circle IV)

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Untitled (Study for 2 Circle IV)

Artist David Smith American, 1906-1965

Dateabout 1962

DimensionsH: 17 15/16 in. (455 mm); W: 11 1/2 in. (293 mm))

MediumSpray enamel (several colors) on paper

ClassificationDrawings

Credit LineGift of Marshall Field's, by exchange

Object number

2002.22

Not on View

Collections

Works on Paper

Published Referencescf. ART IN AMERICA, No. 53, August, 1965, p. 120, repr. (related sculpture.) cf. Budnick, Dan and Ugo Mulas, "A Personal Portfolio," ART IN AMERICA, Volume 54, No. 1(January - February 1966), repr. p. 41. (related sculpture.) cf. Geldzahler, Henry, New York Painting and Sculpture: 1940-1970, New York, 1969, repr. p. 206, repr. (col.) cover. (related sculpture.) cf. Krauss, Rosalind E., The Sculpture of David Smith: A Catalogue Raisonné, New York, 1977,(sculpture is cat. no. 155, drawing not listed). cf. Carmean, Jr., E. A., David Smith, National Gallery of Art, Washington, DC, 1982, pp.144 - 146,repr., p.146, fig. 13, fig. 34, and repr. (col.) plate 2, and back cover. (related sculpture.) Fry, Edward and Miranda McClintic, David Smith: Painter, Sculptor, Draftsman, Washington, DC, 1982,p. 123, repr. cf. Merkert, Jörn, ed., David Smith: Sculpture and Drawings, Munich, 1986, p. 50-51, repr. (related sculpture.) cf. Rosenthal, Mark, Abstraction in the Twentieth Century: Total Risk, Freedom, Discipline, New York, 1996, p.145, repr. (col.). (related sculpture.) cf. Mulas, Ugo, Carmen Gimenez, Michael Brenson, and Francisco Calvo Serralier, David Smith, Madrid, 1996, p. 32, repr. (related sculpture.) cf. Smith, Candida N., Irving Sandler and Jerry L. Thompson, The Fields of David Smith, Thames & Hudson, New York, 1999, p.80, 86, repr. pp. 42, 51 (col.), 88 (col.). (related sculpture.) cf. Berkowitz, Roger M. and Lawrence W. Nichols, "Selected acquisitions made by the Toledo Museum of Art, 1990-2001," THE BURLINGTON MAGAZINE, vol. 143, no. 1177, April, 2001, p. 257, 263, fig. XX (col.). (related sculpture.) Jackson Pollock a Venezia. Gli "Irascibili" e la Scuola di New York. (Milan: Skira, 2002): 219, cat. no. 113. Bonnie Clearwater, David Smith, Stop Action (Miami: Museum of Contemporary Art, North Miami, 1998): fig. 27. cf. Trinkett Clark, The Drawings of David Smith (Washington, D.C.: International Exhibitions Foundation, 1985). cf. Karen Wilkin, David Smith (New York: Abbeville Press, 1984). cf. David Smith: Spray Paintings, Drawings, Sculpture (Chicago: Arts Club of Chicago, 1983).Exhibition HistoryMiami, Museum of Contemporary Art, North Miami, David Smith, Stop Action, 1998, fig. 27. (incorrectly shown upside down.) London, Gagosian Gallery, [sculpture and drawing show concurrent with Last Nudes], January to March 2001. Mestre, Italy, Centro Culturale Candiani, Jackson Pollock a Venezia. Gli "Irascibili" e la Scuola di New York, 2002, p. 219, cat. no. 113.Comparative ReferencesJackson Pollock a Venezia. Gli "Irascibili" e la Scuola di New York. (Milan: Skira, 2002): 219, cat. no. 113. Bonnie Clearwater, David Smith, Stop Action (Miami: Museum of Contemporary Art, North Miami, 1998): fig. 27. See also E. A. Carmean, David Smith (Washington, D.C.: National Gallery of Art, 1982): 31. See also Trinkett Clark, The Drawings of David Smith (Washington, D.C.: International Exhibitions Foundation, 1985). See also Karen Wilkin, David Smith (New York: Abbeville Press, 1984). See also Rosalind E. Krauss, The Sculpture of David Smith: A Catalogue Raisonné (New York: Garland, 1977) [sculpture is cat. no. 155, drawing not listed]. See also David Smith: Spray Paintings, Drawings, Sculpture (Chicago: Arts Club of Chicago, 1983).Label TextThroughout his career David Smith created hundreds of drawings. Some led to other works, such as sculptures, but more often the drawings were explorations in and of themselves. This particular spray drawing most likely came after he had finished the sculpture 2 Circle IV displayed nearby. In the late 1950s and early 1960s David Smith moved away from traditional drawing methods and towards more innovative techniques of expression. One of the materials he had a fondness for was commercial spray enamel paint. It had a metallic quality that reflected his work in steel and provided him with a freedom not possible with a brush or pen. As with all the mediums that Smith used, he developed great control of this new process. By varying the layering of colors, the type of pressure on the valve, and the angle of the can, he created a variety of strong yet subtle effects of space, weight, and image. Several different colors of enamel are used in this particular drawing to give it added depth and richness.