Anthony Caro pioneered the shift from pedestal-bound sculpture to floor-based assemblages, redefining the relationship between art and the spectator. By welding industrial steel beams and plates into open, abstract structures, he broke from traditional figurative forms. His influence extended from his seminal work in the 1950s to large-scale urban collaborations that fundamentally altered contemporary British sculpture.
Formative Education and Early Influences
Born in New Malden, Surrey, in 1924, Caro followed an unconventional path toward visual arts. After graduating from the Charterhouse School, he earned an engineering degree at Christ's College, Cambridge. His formal artistic training took place at the Royal Academy of Arts and the University of Westminster. Early in his career, he served as a studio assistant to Henry Moore from 1951 to 1953, grounding his technique in the modernist tradition before diverging into his own experimental style.
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A 1959 Ford Foundation research trip to the United States proved pivotal, introducing Caro to the abstract works of David Smith and the theories of Clement Greenberg. Upon his return, he abandoned figurative bronze and stone, adopting industrial materials like steel plates and I-beams. By welding these components and applying flat, bold paint, he created pieces such as Twenty Four Hours (1960). His method eliminated the plinth, forcing viewers to encounter sculptures directly on the floor as integrated environmental objects.
Pedagogical Impact and Global Collaboration
Caro shaped generations of artists through his long tenure at Saint Martin's School of Art, where he taught from 1953 to 1981. He further expanded his influence by co-founding the Triangle Arts Trust in 1982 to facilitate workshops for professional artists. Beyond the studio, he integrated sculpture into architecture, collaborating with I. M. Pei and Norman Foster. His involvement in the design of London's Millennium Bridge showcased his ability to apply sculptural principles to large-scale public infrastructure.
Late Works and Classical Departures
In his later decades, Caro explored narrative and installation-based art. Inspired by a 1985 visit to Greece, he produced After Olympia, a massive panoramic piece reflecting classical friezes. His capacity for installation continued into the 21st century with projects like the 2008 Chapel of Light at the Saint Jean-Baptiste Church in Bourbourg, France. By his death in London in 2013, he had cemented his status as a central figure in contemporary art.
Fast facts
- Born: 1924, Surrey, United Kingdom
- Died: 2013, London
- Notable Work: After Olympia
- Knight Bachelor: 1987
- Praemium Imperiale: 1992
- Order of Merit: 2000
- Field: Abstract sculpture
- Primary medium: Industrial steel
Questions readers ask
Why did Anthony Caro remove sculptures from their plinths?
He sought to remove physical barriers between the work and the viewer, allowing for an interactive experience where the art sits directly on the floor.
How did American art influence Caro's transition to abstraction?
A 1959 research trip to the United States introduced him to David Smith and colour field painters, prompting him to switch from figurative works to welded steel constructions.
Achievements
- Order of Merit — 2000
- Commander of the Order of the British Empire
- Knight Bachelor — 1987
- Praemium Imperiale — 1992
- Notable work: After Olympia
- Movement: abstract art and contemporary art
