David Smith: Pittsburgh Landscape

Pittsburgh Landscape

David Smith, Pittsburgh Landscape, 1954, painter steel. Hirshhorn Museum and Sculpture Garden, Washington, DC

Guest Blogger:  Mari

Many people view painted art and sculpture as two entities, as did many artists in the early 20th century. David Smith, however, saw paintings and sculptures as the same form; sculpture was simply painting given a third dimension. In his opinion, sculptures were metal “drawing[s] in space.” He saw no difference between sculptures and paintings beyond their technical execution.

This philosophy can clearly be seen in Pittsburgh Landscape. Housed in the Hirshhorn’s sculpture garden and created in 1954, the piece was originally crafted as a gift for G. David Thompson and was to be used as a guard rail for a terrace outside Thompson’s home. Thompson, a collector of modern art, was the president of Pittsburgh Steel at the time. Thus, Smith’s use of painted steel in Pittsburgh Landscape is very fitting not only for the city it depicts but also the man it was for. The piece is composed of delicate metal tracery rather than solid forms. This is meant to define the empty space rather than detract attention from it. The abstract composition of the sculpture creates a sense of rhythm and pattern that is found in a dynamic landscape, such as a city skyline, seen from a distance. The piece’s composition was inspired by Pablo Picasso and Julio González’s post-Cubist constructed metal sculptures, which are what drove Smith to begin experimenting with metal sculpture earlier in his career. Eventually, Pittsburgh Landscape found its way into the hands of Joseph H. Hirshhorn who donated it to the museum bearing his name in 1972.

Smith was heavily influenced by Surrealism and is considered to be the first American artist who took an interest in metal abstract sculpture and began creating his own works in this style. His life experiences help to explain his expertise in this medium. He gained skills from welding metal in an automobile factory that contributed greatly to his artistic talent. In addition, Smith set up his studio next to an iron forge and would often use scrap metal and parts of machines found there in his sculptures. In 1965 he was appointed to the National Council on the Arts by President Lyndon B. Johnson before tragically dying in a car crash that spring. Smith’s legacy and works, still widely popular today, earned him a prominent place in American art history and will continue to inspire others in years to come.