ABSTRACT
Anthony Caro is unquestionably the most important sculptor to have come out of England since Henry Moore. It was on a visit to the United States in the fall of 1959 that an encounter with Smith's sculpture prompted Mr. Caro to abandon the unpromising monolithic figure style he had been pursuing, a style which had already won him a certain reputation on the London scene. Mr. Caro's first sculptures in the new mode were exceedingly "tough." He seemed intent on placing the greatest possible distance between his new work and the genteel styles which were then prevalent even among the most advanced artists in London. The relation of Mr. Caro's sculpture to Alexander Calder's—specifically, the large painted metal stabiles—is, frankly, more conjectural. Mr. Caro, to his great aesthetic profit, has followed suit and has taken a whole generation of English sculptors with him.
