Untitled (Family)

Untitled (Family)

David Smith

1954

Accession Number

129841

Medium

Lithograph on off-white wove paper

Dimensions

Image: 21 × 57.5 cm (8 5/16 × 22 11/16 in.); Sheet: 25.5 × 65.5 cm (10 1/16 × 25 13/16 in.)

Classification

lithograph

Museum

The Art Institute of Chicago

Chicago, United States

Credit Line

Bequest of Katharine Kuh

Background & Context

Background Story

David Smiths Untitled (Family) from 1954 is a lithograph that translates the sculptors three-dimensional vocabulary of welded metal forms into the two-dimensional medium of print, creating an image of a family group that reads simultaneously as a sculptural plan and an autonomous work on paper. Smith, the foremost American sculptor of his generation, regarded drawing and printmaking not as preliminary to sculpture but as parallel practices that informed and were informed by his work in steel. The family group in this lithograph is composed of the same angular, planar forms that characterize his welded steel sculptures, with each figure reduced to a few intersecting planes that suggest mass and volume without fully describing them. The title Family invokes the most fundamental human social unit, but Smith gives the figures an abstract quality that universalizes the theme: the family is any family, standing together in a composition of mutual support and formal balance. The year 1954 places this work in the period when Smith was consolidating the vocabulary of agrigraphs and other works that would define his mature practice, and the lithograph demonstrates how fluidly his formal thinking moved between two and three dimensions. The off-white wove paper provides a warm ground that softens the angularity of the forms, suggesting a domestic intimacy appropriate to the family theme.

Cultural Impact

Smiths prints and drawings are essential for understanding the development of his sculptural ideas, demonstrating that his formal vocabulary was generated through a constant dialogue between two and three dimensions. Untitled (Family) shows that the domestic and the industrial could coexist in his work, a synthesis that influenced both Minimalist sculpture and the reintroduction of the figure into abstract art.

Why It Matters

A lithograph by Smith that translates his welded metal sculptural vocabulary into a family group, demonstrating the fluid interchange between two and three dimensions in his practice and the universality of his abstracted figural forms.