Richard Smith

Richard Smith was one of the most original painters of his generation. His work achieved tremendous success both commercially and critically in the US and Britain during the 1960s and 70s. Straddling the boundary between abstraction and pop art, his sophisticated works defy easy categorization.

Biography of Richard Smith

Born in Letchworth, Hertfordshire, Richard Smith's education included periods of study at Luton and St. Albans art schools, interrupted by two years of service in the RAF in Hong Kong. Between 1954 and 1957, he pursued studies at the Royal College of Art in London, where he played a significant role in redefining painting standards and protocols. His generation was profoundly influenced by the first extensive displays of American abstract expressionist painting in Britain at the Tate in 1956 and 1959, prompting his art to challenge and diverge from the core values of American painting.

While at the Royal College, Smith created expansive paintings characterized by energetic, sloping brush strokes. Although abstract in appearance, these works reflect his fascination with popular culture and mass media.

A two-year Harkness scholarship in 1959 took Smith to New York, where he was influenced by the billboards of Times Square, inspiring a new series of paintings. These pieces featured soft-edged forms and modulated surfaces that appeared entirely abstract but were based on details and the quality of photographs from magazines and other sources. Titles like "Revlon" and "Panatella" indicated the origins of Smith's imagery, drawn from the world of commercial advertising.

His interest in cigarette advertising led him to create a series of works based on cigarette packets upon his return to Britain. His first solo exhibition took place at the Green Gallery in New York (considered by some to be the first solo pop art show), followed by another at the trendy Kasmin Gallery in London. At the Kasmin Gallery, he exhibited a group of large works inspired by flip-top cigarette packets. These pieces projected from the walls or extended across the floor, elevating the mundane source material to an epic scale and pushing the boundaries of traditional painting practices.

Smith played a significant role in various pivotal exhibitions of his era. In 1959, he collaborated with Ralph Rumney and Robyn Denny to create "Place" at the ICA, where canvases were strategically positioned on the floor to construct a labyrinthine environment. He was also part of the "Situation" group show in 1960 at the RBA Galleries, celebrating the influence of American painting on the British art scene. Additionally, he was featured in the extensive "Painting and Sculpture of a Decade 54-64" exhibition at the Tate in 1964.

During the late 1950s and early '60s, Smith wrote insightful commentaries about his colleagues' art, revealing his awareness of the evolving urban environment and the influence of mass photographic media. In 1962, he pioneered the concept of the artist-filmmaker by collaborating with the renowned photographer of that era, Robert Freeman, on "Trailer," an 8mm color film focused on cigarette and other commercial packaging.

In 1966, Smith was one of the five artists chosen to represent Britain at the Venice Biennale, where he received an award. He also had a solo exhibition at the Biennale in 1970. In 1967, he won the grand prize at the 9th São Paulo Bienal, and during the 1970s, his work was showcased in museums across Europe, North America, and South America. However, in the following years, his art was primarily exhibited in the galleries of New York and London that represented him, leading to a decline in his public profile. Nevertheless, each of Smith's solo exhibitions pushed the boundaries of painting, expanding its definition. His 1975 Tate retrospective, in particular, was structured around the re-creation of his seven most significant shows.

Throughout the 1980s, Smith continued to create the Kite Paintings, which became increasingly intricate. Starting in 1993, he returned to more conventional flat surfaces, using interwoven painted forms to create depth while showcasing his exceptional mastery of color.

In 1993, the "Sixties Art Scene in London" exhibition at the Barbican served as a reminder of the ambition and creativity evident in Smith's early work. This was followed by a solo exhibition at the Bernard Jacobson Gallery in London three years later. Despite these efforts, it could be argued that stereotyped notions of art from the 1950s and 60s have hindered the full appreciation of the artist's distinctive blend of abstract principles and contemporary subject matter.