Frases de Alexander Calder

Alexander Calder fue un escultor estadounidense.

Hijo y nieto de escultores. Su madre era, además, pintora. Estudió ingeniería mecánica y en 1923 asistió a la Liga de Estudiantes de Arte de Los Ángeles, donde recibió la influencia de los artistas de la escuela.

En 1925 contribuyó con unas ilustraciones en la National Police Gazette. En 1926 se trasladó a París y comenzó a crear figurillas de madera y alambre, germen del posterior desarrollo de sus famosas miniaturas circenses. En los años 1930, se hizo célebre en París y en los Estados Unidos por sus esculturas de alambre, al igual que por sus retratos, sus bosquejos de línea continua y sus abstractas construcciones motorizadas.

En 1967 creo un móvil en la fábrica Biémont de Tours , incluido el "HOMBRE", todo de acero inoxidable de 24 metros de altura, encargado por la International Nickel de Canadá para la Exposición Universal de Montreal. Todas las fabricaciones se hacen a partir de un modelo producido por Calder, en el departamento de Diseño Industrial se realizó el diseño a escala y luego el montaje es asignado a trabajadores caldereros calificados para la fabricación, Calder supervisa todas las operaciones y se modifican si es necesario el trabajo. Todos los stabiles están hechos de acero al carbono y pintados de negro en su mayoría, excepto el hombre que va a ser de acero inoxidable , el móvil está hecho de aluminio y duraluminio.



Es más conocido como el inventor del móvil o chupin , un precursor de la escultura cinética. También elaboró obras esculturales inmóviles, conocidas como stabiles. Aunque los primeros chupines y stabiles de Calder fueron relativamente pequeños, poco a poco fue orientándose hacia la monumentalidad en sus trabajos posteriores. Su talento ha sido reconocido en importantes exposiciones de arte contemporáneo en las que obtuvo grandes éxitos económicos y de crítica.

Entre sus obras más importantes destacan las llamadas "Nubes de Calder", que son 31 paneles de madera contrachapada que reflejan el sonido y actúan de soporte acústico. Se encuentran suspendidos en el cielo raso y en las paredes laterales del Aula Magna de la Universidad Central de Venezuela. Estas esculturas flotantes creadas por el ingenio de Calder, por requerimiento del arquitecto Carlos Raúl Villanueva, convierten al recinto teatral en una de las cinco salas con mejor acústica del mundo.[cita requerida]

✵ 22. julio 1898 – 11. noviembre 1976
Alexander Calder Foto
Alexander Calder: 41   frases 0   Me gusta

Alexander Calder: Frases en inglés

“Fernand Léger's film, 'Ballet Mecanique' is the result of the desire for a picture in motion.”

1930s - 1950s, Statement from Modern Painting and Sculpture', (1933)

“Therefore, why not plastic forms in motion?... one can compose motions.”

1930s - 1950s, Statement from Modern Painting and Sculpture', (1933)

“Duchamp named the mobiles and Arp the stabiles. Arp said, "What did you call those things you exhibited last year? Stabiles?"”

Question, Is it true that Marcel Duchamp invented the name “mobile” for your work?
1950s - 1960s, interview with Alexander Calder', (1962)

“.. the elimination of other things which are not essential will make for a stronger result.”

1930s - 1950s, Statement from Modern Painting and Sculpture', (1933)

“It was early one morning on a calm sea, off Guatemala, when over my couch - a coil of rope - I saw the beginning of a fiery red sunrise on one side and the moon looking like a silver coin on the other.”

Quote in his autobiography (1922); as cited in 'Calder' 1966, pp. 54–55; as quoted on Wikipedia: Alexander Calder
In June 1922, Calder found work as a mechanic on the passenger ship H. F. Alexander. Calder slept on deck and awoke one early morning off the Guatemalan Coast; he saw both the sun rising and the full moon setting on opposite horizons
1920s

“[to Mondrian:] Maybe you should take all these red, yellow and blue elements off the canvas and let them hang in the air, so they can move. [Mondrian reacted: 'Well, I think my paintings are fast enough already..”

Quote (1930), from a studio-visit at Mondrian's place in Paris, as cited by by Mondrian's recent biographer Hans Janssen, of the Gemeentemuseum in The Hague; as cited by Alastair Sooke, in 'Mondrian - the Joy of Being Square'; BBC culture, 10 July 2017 http://www.bbc.com/culture/story/20170710-mondrian-the-joy-of-being-square
1930s - 1950s

“Wire, rods, sheet metal have strength, even in very attenuated forms, and respond quickly to whatever sort of work one may subject them to. Contrasts in mass or weight are feasible, too, according to the gauge, or to the kind of metal used, so that physical laws, as well as aesthetic concepts, can be held to. There is of course a close alliance between physics and aesthetics.”

Quote of Calder (1943) in his essay A Propos of Measuring a Mobile, Calder Foundation; as quoted in Calder and Mondrian: An Unlikely Kinship, senior-thesis by Eva Yonas http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.517.581&rep=rep1&type=pdf, Ohio State University August 2006, Department of Art History, p. 19
1930s - 1950s

“I started [in Paris, 1920's, making toys] right away, using wire as my main material as well as working with others like string, leather, fabric and wood. Wood combined with wire (with which I could make the heads, tails and feet of animals as well as articulating parts) was almost always my medium of choice. One friend of mine suggested that I should make bodies entirely of wire, and that is how I started to make what I called 'Wire Sculpture.”

In Montparnasse, I became known as the 'King of Wire'.

Quote of Alexander Calder (1952), looking back, from Permanence Du Cirque, in 'Revue Neuf', Calder Foundation, 1952; as quoted in Calder and Mondrian: An Unlikely Kinship, senior-thesis by Eva Yonas http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.517.581&rep=rep1&type=pdf, Ohio State University August 2006, Department of Art History, p.19 – note 26

Calder first began using wire extensively in 1926, creating mechanical toys that would be the precursors to the Paris' 'Cirque Calder'
1950s - 1960s

“Marcel Duchamp's 'Nude descending the stairs' is the result of the desire for motion. Here he has also eliminated representative form. This avoids the connotation of ideas which would interfere with the success of the main issue - the sense of movement.”

1930s - 1950s, Statement from Modern Painting and Sculpture', (1933)
Fuente: en.wikiquote.org - Alexander Calder / Quotes of Alexander Calder / 1930s - 1950s / Statement from Modern Painting and Sculpture', (1933)

“Question, What artists do you most admire?”

1950s - 1960s, interview with Alexander Calder', (1962)

“How can art be realized?”

1930s - 1950s

“Goya, Miró, Matisse, Bosch and Klee.”

Question, What artists do you most admire?
1950s - 1960s, interview with Alexander Calder', (1962)

“The aesthetic value of these objects cannot be arrived at by reasoning. Familiarization is necessary.”

En.wikiquote.org - Alexander Calder / Quotes / 1930s / Statement from Modern Painting and Sculpture (1933)
1930s, Statement from Modern Painting and Sculpture (1933)

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