A Note on Caro Influence: Five Sculptors from Bennington

EVERY ARTIST WHO CONSCIOUSLY INVOLVES himself with another artist’s style must believe that he correctly comprehends it. Yet one of the engaging features of art history is the extent to which the stylistic character of influenced work can differ from the master’s style as his style might be scrupulously defined. Perhaps the commonest such discrepancy occurs where artists derive the entire grounds of their own procedure from but a part of their master’s esthetic which they either prefer to the whole or mistake for it. The relation of second-string Cubists to Picasso and Braque is a handy example, although many artists of the past—take Caravaggio—have been used by followers in a similar fashion; even the relation of Jordaens to Rubens has something of this character.

For several years the work of Anthony Caro has been generating a kind of school. If artists find certain qualities in his work

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