Often portraying scenes of conflict, Lipchitz’s sculptures used scenes from the Old Testament or from classical mythology to convey explicitly political messages at a time when authoritarian politics were strengthening in Europe. A Lithuanian-born Jew who later fled German-occupied France for the USA, Lipchitz wrote that the theme of this David and Goliath study was related to 'my hatred of fascism and my conviction that the David of freedom would triumph over the Goliath of oppression'. To make his meaning clear Lipchitz placed a swastika on the chest of Goliath in the finished work. The Old Testament narrative implies that it was the Jews who were fighting this giant. 'The statue cost me considerable difficulty with German agents who in the guise of art critics began to show intense interest in visiting and examining my studio. However, it remained unharmed in the basement of the Musée National d'Art Moderne during the entire German occupation.'

David and Goliath, on a column is one of a series of maquettes on the theme of David and Goliath designed by Lipchitz in 1933; a large plaster, 30 inches high, was exhibited in the Paris Salon of 1934. The group shows the two figures straining against each other, David pulling a noose around the neck of Goliath from behind, which the giant tries with both hands to tear off. This is a variation of the story in the Bible, in which David cuts off Goliath’s head.

Jacques Lipchitz (1891-1973) was born in Lithuania. He lived and worked in Paris and New York.