早在1914年，毕加索就在他的雕塑作品《乐器》(Musical Instrument 1914)(图0-10)开始使用具有现代意义的材料语言。虽然它还只是一件有很强的平面拼贴味道的作品，但是他已经彻底摆脱了雕塑作品的主题对于人体语言的依赖，以作品自身所包含的形体空间变化的秩序，代替了对于自然现象(人体或静物)的描写。
    As early as 1914, Picasso in his sculpture works "musical instrument" (Instrument Musical 1914) (Figure 0-10) began to use a modern sense of the material language. Although it was a have strong plane butt paste taste of works, but he has been completely out of the sculpture theme of dependence on body language, to work itself contains the physical space change order, instead of the description of the natural phenomena (human or still life).

    更为重要的是在这件作品里，我们第一次感受到了材料的语言，而且这种语言是通过一种新的方法“制作”出来的，就像木匠做桌椅板凳一样。它不同于古典写实主义雕塑中对形体进行“塑造”的理念，在古典主义的塑造理念中材料只是起着再现和模拟自然形态的作用，而在《乐器》里，毕加索所使用的木质板条是作为主体出现的。
    More important is that in this work, we first felt the material language, and this language is through a new method "production" out, like a carpenter to do tables and chairs. It is different in the classical realism sculpture of body were "shaping" concept, in the classical philosophy of the shaping material is only the representation and Simulation of natural forms of role, and in the "instrument", Picasso used wooden slats is as the main body.

    它们本身所具有的材料感与它们的造型一起构成了一种崭新的雕塑语言，从此以后，材料不再具有模拟自然形体的义务了，它可以以自身的材料属性而作为雕塑语言的存在。
    Their own materials and their shapes together constitute a brand new language, from now on, the material no longer has the obligation to simulate the natural form, it can be the material properties and the existence of sculpture language.

    毕加索作为20世纪最伟大的艺术家，对现代雕塑的发展起了决定性的推动作用，其中也包括了现代金属雕刻的产生和发展。他的同胞冈萨雷斯也正是受到了毕加索的影响而投入到雕塑艺术的创作中来。
    As the greatest artist of the twentieth Century, Picasso has played a decisive role in the development of modern sculpture. His fellow Gonzales is also influenced by Picasso and put into the creation of sculpture art.

    美国雕塑家大卫。史密斯在继承冈萨雷斯的同时又将金属雕塑推向一个新的高度。大卫。史密斯出身于铁匠世家(1906年)，二战时曾在制作重型武器的工厂做工，对大型金属材料和制作工艺非常熟悉，这使他成为第一个不做小稿而直接焊接金属雕塑的人。
    American sculptor david. Smith at the same time, Gonzales's inheritance of metal sculpture to a new height. David. Smith was born in the Smith family (1906), World War II had in the production of heavy weapons factory work, of large metal materials and production processes are very familiar with, which made him become the first do a little release and directly welded metal sculpture.

    他进一步发展了冈萨雷斯关于“空间中素描”的理念，但史密斯空间中的素描已不再是自然形态的抽象表现，也不是对具象的提炼，而是以纯粹的几何形态出现的金属材料在三度空间中的组合，不具有对自然界事物的象征、寓意、也没有任何叙事因素，而是“空间中的音乐”。
    He further developed the idea of Gonzales on the "space", but Smith space in the sketch is no longer a natural form of abstract expression, nor is the abstract, but purely geometric form of metal materials in the three dimensional space, not a symbol of nature, meaning, nor any narrative factors, but "space in the music".

    史密斯在自己工作室的地上把不同的钢材以不同的组合形式进行摆放，然后直接将其焊接在一起，再竖起，作品就完成了。这就是为什么他的很多作品轻松而富于节奏感，但却不可避免的带有明显的“平面性”。
    Smith in his studio on the ground to different combinations of steel in different forms, and then directly welded together, and then put up, the work is done. This is why many of his works are relaxed and full of rhythm, but it is inevitable with obvious "plane" ".

    这就是史密斯雕塑的特色，也是由它的制作过程所决定。史密斯雕塑与冈萨雷斯相比另外一个显著的区别就是，他的作品与周围的环境地面往往直接发生关系，而冈萨雷斯的作品基本上是架上作品，雕塑与环境是通过一个台座和底座来接触。
    This is the feature of the Smith sculpture, but also by the production process. Smith sculpture and Gonzalez, compared to the another significant difference is his work with the surrounding ground environment often directly related to, and Gonzalez works basically is easel painting, sculpture and the environment is through a pedestal and the base to contact.

    由于史密斯雕塑本来就是以堆在地上的材料焊接而成，因此，它与地面和环境有一种天然的联系，这也赋予了雕塑以建筑感和纪念碑式的情调。这在冈萨雷斯的作品中是看不到的。
    Because of the Smith sculpture is to pile on the ground of the material welding, so, it has a natural connection with the ground and the environment, which also gives the sculpture with a sense of architecture and monuments. This is not seen in the works of Gonzales.