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Alexander Calder

American Sculptor

Movements: Surrealism, Kinetic Art

Born: July 22, 1898 - Lawnton, Pennsylvania

Died: November 11, 1976 - New York, New York, USA

Alexander Calder Timeline

Quotes

"People think monuments should come out of the ground, never out of the ceiling, but mobiles too can be monumental."
Alexander Calder
"Why must art be static?"
Alexander Calder
"Just as one can compose colors, or forms, so one can compose motions."
Alexander Calder
"My whole theory about art is the disparity that exists between form, masses and movement."
Alexander Calder
"The underlying sense of form in my work has been the system of the Universe, or part thereof...What I mean is that the idea of detached bodies floating in space, of different sizes and densities, perhaps of different colors and temperatures, and surrounded and interlarded with wisps of gaseous condition, and some at rest, while others move in peculiar manners, seems to me the ideal source of form."
Alexander Calder

"The next step in sculpture is motion."

Alexander Calder Signature

Synopsis

American artist Alexander Calder redefined sculpture by introducing the element of movement, first though performances of his mechanical Calder's Circus and later with motorized works, and, finally, with hanging works called "mobiles." In addition to his abstract mobiles, Calder also created static sculptures, called "stabiles," as well as paintings, jewelry, theater sets, and costumes.

Key Ideas

Many artists made contour line drawings on paper, but Calder was the first to use wire to create three-dimensional line "drawings" of people, animals, and objects. These "linear sculptures" introduced line into sculpture as an element unto itself.
Calder shifted from figurative linear sculptures in wire to abstract forms in motion by creating the first mobiles. Composed of pivoting lengths of wire counterbalanced with thin metal fins, the appearance of the entire piece was randomly arranged and rearranged in space by chance simply by the air moving the individual parts.

Most Important Art

Alexander Calder Famous Art

Arc of Petals (1941)

From the 1930s on, Calder created non-mechanized hanging, standing, and wall-mounted mobiles, whose movement was driven by random air currents. Early versions often used scavenged bits of glass or pottery, while later ones were generally comprised entirely of flat metal shapes painted solid red, yellow, blue, black, or white, such as this work. Calder succeeded in integrating natural movement into sculpture by assembling elements that balance themselves naturally by weight, surface area, and length of wire "arm." The basic equilibrium he struck guarantees compositional harmony among the parts, no matter their relative positions at any given moment. Though many other artists have since created works based on his principles, even now, decades later, Calder is still the undisputed master of this form of sculpture.
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Alexander Calder Artworks in Focus:

Biography

Childhood

Alexander Calder, known as Sandy, was born into a long line of sculptors, being part of the fourth generation to take up the art form. Constructing objects from a very young age, his first known art tool was a pair of pliers. At eight, Calder was creating jewelry for his sister's dolls from beads and copper wire. Over the next few years, as his family moved to Pasadena, Philadelphia, New York, and San Francisco, he crafted small animal figures and game boards from scavenged wood and brass. Calder's interest initially led not to art, but to mechanical engineering and applied kinetics, which he studied at Stevens Institute of Technology in Hoboken, New Jersey (1915-1919).

Early Training

Alexander Calder Biography

After graduating from college, Calder tried many jobs: automotive engineer, draftsman and map-colorist, steam boat stoker, and hydraulics engineer among them. In 1922, he took evening drawing classes at the 42nd Street New York Public School. The next year he studied painting at the Arts Students League (1923-1926), with John Sloan and George Luks while working as an illustrator for the National Police Gazette. An assignment to illustrate acts at the Ringling Brothers and Barnum & Bailey Circus led to his interest in the circus.

In 1926, after showing paintings at The Artists' Gallery in New York he moved to Paris. Once there, he began making the moving toys and figures that would become Calder's Circus(1926-31). He also began using wire to produce linear portraits and figurative sculptures. He became popular in the art world for his Calder's Circus performances during which he set in motion the many different characters and animals he had created. In Paris, Calder met Joan Miró, who became an important influence and close friend. In 1929, Calder began producing jewelry with the same wire he used in his sculpture. He continued jewelry work throughout his career, primarily making necklaces, rings, brooches, and bracelets for friends. Calder moved frequently from studio to studio and between New York and Paris. On one of his many transatlantic boat trips he met Louisa James, who he married in 1931.

Mature Period

In the late 1920s Calder created more figurative oil paintings, but a 1930 visit to Piet Mondrian's studio led Calder to shift from figuration to the abstraction permanently. Upon entering the studio, Calder became fixated on the colored rectangles covering one of the walls: he said he would like to make them physically move. Calder joined the influential Abstraction-Creation group and focused on finding a way to make abstract color move through space. A year later he exhibited his first abstract wire works and produced his initial, groundbreaking mechanized sculptures, pioneering kinetic art. Marcel Duchamp named these works "mobiles," a term that also encompassed the subsequent sculptures Calder created that relied on the movement of air rather than motors.

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Alexander Calder Biography Continues
Alexander Calder Photo

During the 1930s, Calder also began making non-kinetic sculptures, which Hans Arp referred to as "stabiles." Like the mobiles, Calder's stabiles openly incorporated the components of their fabrication, such as fastening flanges and bolts, as visible elements of the designs. Calder used soaring, outstretched, arching gestures to emphasize movement and energy in both his mobiles and stabiles.

The artist moved to Connecticut in 1933, where he sought space to create ever-larger hanging works and outdoor sculptures. Concurrently, Calder began making sets and costumes for theatrical productions by dancer Martha Graham and composer Erik Satie, work that he continued throughout his career. Through the end of the 1930's he continued to stage performances of Calder's Circus. He held exhibitions and executed commissions across Europe, finally returning again to the U.S. in 1938. In 1939, The Museum of Modern Art commissioned Calder to create the large mobile Lobster Trap and Fish Tail.

During World War II, Calder made many brightly colored gouache paintings. He also continued making sculpture, primarily using wood instead of metal due to supply shortages. He created Constellations, a series of airy three-dimensional stabiles of wire and carved wooden abstract shapes. In 1943, Calder was honored as the youngest artist ever to have a retrospective exhibition at the art world's most prestigious venue, New York's Museum of Modern Art. In 1946, Paris' Galerie Louis Carre organized another important exhibition of Calder's work, for which Jean-Paul Sartre wrote a landmark catalog essay.

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Late Period

Alexander Calder Portrait

Surrounded by his family and working in a large studio he built in Roxbury, Connecticut, from 1958 to the 1970s Calder created numerous, monumental public sculptures. While these included some mobiles, his outdoor works were more often large-scale stabiles. Among his many international commissions were those for the New York Port Authority (1957), UNESCO in Paris (1958) and, in 1969, the first public artwork funded by the National Endowment for the Arts. With his family he traveled and worked during these years in France; Beirut, Lebanon; Amedabad, India; London; and New York. He also continued creating smaller sculptures, jewelry, and set designs. In 1960, Calder began designing tapestries to be crafted by weavers in the French villages of Aubusson and Felletin. In 1962 he built a huge studio in Sache, France, near the home of friend Jean Davidson, in which he built his largest works. In the early 1970s, he even created vibrantly colored designs to cover three Braniff jets and a BMW sports car.


Legacy

With his early Calder's Circus, Calder injected wit into serious art and introduced the concept of the artist as a performer as much as a maker of art, inspiring such artists as Claes Oldenburg and his whimsical Ray Gun Theater(1962) performances which involved artists Carolee Schneemann, Lucas Samaras, Oyvind Fahlstrom, Tom Wesselman, and Richard Artschwager; and Red Grooms' humorous performance The Burning Building(1960) and his huge mechanized Ruckus Manhattan(1975) installation sculpture.

The influence of the sweeping linear gestures in Calder's mobiles can be seen in the work of Abstract Expressionists Franz Kline, Willem de Kooning and the later Jackson Pollock works. The mobile introduced the elements of movement and of random chance composition into sculpture, setting the stage for experiments with the kinetic art of George Rickey and music and dance composed by chance operations of John Cage and Merce Cunningham.

Influences and Connections

Influences on artist

Artists, Friends, Movements

Influenced by artist

Artists, Friends, Movements

Alexander Calder
Interactive chart with Alexander Calder's main influences, and the people and ideas that the artist influenced in turn.
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View Influences Chart

Artists

Hans ArpHans Arp
Pablo PicassoPablo Picasso
Joan MiróJoan Miró
Piet MondrianPiet Mondrian

Friends

Marcel DuchampMarcel Duchamp
Fernand LégerFernand Léger
Man RayMan Ray
Isamu NoguchiIsamu Noguchi
James Johnson SweeneyJames Johnson Sweeney

Movements

CubismCubism
ConstructivismConstructivism
Italian FuturismItalian Futurism
Neo-PlasticismNeo-Plasticism
SurrealismSurrealism
Alexander Calder
Alexander Calder
Years Worked: 1923 - 1976

Artists

George RickeyGeorge Rickey
John CageJohn Cage
Mark di SuveroMark di Suvero
Ellsworth KellyEllsworth Kelly
Claes OldenburgClaes Oldenburg

Friends

Marcel DuchampMarcel Duchamp
Georgia O'KeeffeGeorgia O'Keeffe
Jules PascinJules Pascin
Jean-Paul SartreJean-Paul Sartre

Movements

SurrealismSurrealism
Kinetic ArtKinetic Art
Abstract ExpressionismAbstract Expressionism
Pop ArtPop Art

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Cite this page

Content compiled and written by Rachel Gershman

Edited and published by The Art Story Contributors

" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Rachel Gershman
Edited and published by The Art Story Contributors
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Useful Resources on Alexander Calder

Videos

Books

Websites

Articles

Audio

More

The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.

biography

Alexander Calder and His Magical Mobiles

By Jean Lipman

The Essential Alexander Calder Recomended resource

By Howard Greenfeld

written by artist

Calder: An Autobiography with Pictures

By Alexander Calder

More Interesting Books about Alexander Calder
Calder at Play: Finding Whimsy in Simple Wire Recomended resource

By Holland Cotter
The New York Times
October 16, 2008

From a Big Imagination, a Tiny Circus Recomended resource

By Kathryn Shattuck
The New York Times
October 10, 2008

The Merry Modernist

By Robert Hughes
Time
May 4, 1998

All Calder, High and Low

By Roberta Smith
The New York Times
March 27, 1998

More Interesting Articles about Alexander Calder
NPR - July 22, 2008 Recomended resource

About Jewelry exhibition at Philadelphia Museum of Art

NPR - August 15, 2001

About sculpture Retrospective at Storm King Art Center in New York

Alexander Calder performs his "Circus" - 1955 Recomended resource

Calder Le Cirque - 1961

Calder performs his Circus

Charlie Rose - June 10, 1998

Discussion about Calder

Alexander Calder Jewelry Exhibit - Oct 14, 2008

Exhibition tour at Philadelphia Museum of Art

transcripts

Smithsonian Archives of American Art - 1971

Oral History interview with Calder

public art

Calder's Pittsburg Airport Controversy Recomended resource

Pittsburgh City Paper
October 23, 2003
By Chris Potter

Le Guichet (The Ticket Window) (1963)

New York Public Library for the Performing Arts at Lincoln Center
New York, NY

More Interesting Resources about Alexander Calder
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