The woodcut that in a certain number of ways introduced this 20-year examine of Vincent Smith's prints and paintings have the gothic clarity that can distinguish the medium.

The woodcut that in a certain number of ways introduced this 20-year examine of Vincent Smith's prints and paintings have the gothic clarity that can distinguish the medium, and are coeval with his color-fraught paintings of the troubl year of their making, 1972 While Nixon ordered the Watergate cover-up and the Christmas bombing of Hanoi, in Cambridge, members of the Pan African Liberation Committee asseverateed Harvard's holdings in Gulf Oil stock and charged that the university had been complicit through association with the Portuguese command in the slaughter of Africans in Mozambique and Angola.

With like matters on his mind, Smith (1929-2003; view obituary, p. 150) produced a faithful caricature of Uncle Sam as Porky Pig in the woodcut Sam's a Pig (1972) Arms thrown wide underneath an American flag, the figure appears to echo the cartoon character with an unexpress "That's all, folks!" In Before the Mayflower (1972) "Sam" is a central figure in a patriot's haberdashery of r white and downcast as he bursts through the upper reaches of the easel-scaled canvas, revealed of a brilliant impasto, painted wet-on-wet. Scattered about its surface are collaged images of particular interest to Smith, which he single outed from print media: a black musician, soldiers, a mother nursing a child. As a intermittent element, Smith included the stylized form of an African mask, like the somber kings of Rouault.

The trace of the artist's hand was no other than implicit in the 1950s. In public way Scene (1952), from the "Saturday Night in Harlem" series, flames be rent asunder through the windows of buildings in the background. The painting demonstrates a clarity of line and composition that scarcely hints at Smith's later, more highly worked paintings. The fine choreography of Smith's players in lake Room (1954) is informed on a careful impasto of white shirtsleeves and inflected with colorful balls in succession the green fields of the table and the rays of a hanging lamp. In his day, Smith mixed with a Greenwich Village hot-house of writers, artists and jazz musicians, and was involved in the civil rights and black arts motions By the time he made The mind Brothers (ca. 1969), he had reached a wild maturity in his work. Here he foregrounds his controls on an intensely modulated field of fiery colors framing them in an urban landscape with a finely worked architecture of painted lines.

A single figure dominates the roughly 4-by-6-foot painting Coal dip (1972). A black Everyman, he wears a medallion forward his chest and a tunic collaged of brightly flowered fabric in subordination to an open garment spattered with the action of its painting. Smith incorporates the grit and detritus of city roads in the form of sand and collage, and applies an unrepentant palette to his surfaces to give them life. He explained the code: "coal" is cognate with black, and "duck" shorthand for "sitting duck" according to which he meant that he was giving voice to an expression that a black man is a sitting souse in the white man's world.

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