1. David Smith’s New Sculpture By Clement Greenberg

2. David Smith Greenberg starts off by explaining how true development of an artist throughout his or her career is a rare and significant thing. He believes that David Smith is one of those rare artist who has been able to achieve this. Clement Greenberg states in his essay that Smith’s art has developed into a new level of modern art by becoming less extreme and more consistent. “It manifested a new breadth and at the same time a new depth ” -C. Greenberg

3. David Smith earlier work Greenberg goes on to say how astonished he is by the fact that Smith has continued to keep his artistic flare in a way in which he can be persistent in his adventurous ways but at the same time produce an abundance of great work. He critiques Smiths earlier work as being to overrun by trying to say to much in a single piece. Greenberg believes that Smiths most previous work has developed and no longer feels overwhelming.

4. CUBI VI (1963), Israel Museum, Jerusalem. Greenberg explains that “Smiths way of exploring and exploiting his conceptions has evolved along with almost everything else in his art” In his essay Greenberg regards Smiths work as becoming more precise and straight forward by illuminating the essential subject manner and the significance of it in the piece.

5. Greenberg goes on to say that Smith’s work has never been developed by a “single direction or vein”.

6. The three Veins distinguishable in Smiths Artworks 1. Strictly geometrical “cube shaft and plate” manner in stainless steel. 2. Less apparently geometrical “flat cut-out” manner in painted sheet metal. 3.Freehand,roughly geometric “rod and disc” manner in steel and iron. Greenberg states that only the last vein is ultimately being used in Smith’s later works.

7. Greenberg considers the Voltri-Bolton Landing series to no longer being pretext to the human figure. It is an example of how Smith’s work has become “more of geometrical regularity”, and coincides with the latest evolution of abstract painting.

8. Voltri-Bolton Series Through the Voltri-Bolton series and other of Smith’s paintings, Greenberg observes how smith drawings are no longer “nervous” and cursive. It has gained more a of geometrical regularity. The style that once was in Smith’s earlier work that noted some postwar abstract sculptures have almost completely disappeared.

9. “ Nothing in his art associates itself with geometrical art as we know it from the past” –Clement Greenberg Greenberg notes how geometrical Smith’s drawing may have become, they were not however, restrictive by some form on doctrine. Smith chose the geometrical conventions of art as a means of other means that were available to him.

10. Voltri-Bolton series however are not all entirely geometrical. only when inspected can we see how simplified and trued almost everything is. Smith’s drawings may have lost their “nervousness” but the unities in the structure in which it creates remain almost the same as before.

11. On Color… Lack of color or any sort of finish is a result of Smith’s directness and part of his nervousness. The raw discolored surfaces may be repellent but also tend to efface themselves. This is an aim of Smith at the diagrammatic against substantial and textured. However, the discoloration is too natural and casual that it gives anything but a negative contribution. Polished and or colored surfaces may attracted the eye too much. The lack of color has benefitted the artist and his work like that in the “Voltri- Bolton Landing”.

12. “The burden of content is what keeps the artist going, and the wonderful thing about Smith is the way that burden seems to grow with his years instead of shrinking” - Clement Greenberg