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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

“Wherever there is a main issue the elimination of other things which are not essential will make for a stronger result. In the earlier static abstract sculptures I was most interested in space, vectoral quantities, and centers of differing densities.”

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Alexander Calder

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

“Therefore, why not plastic forms in motion? Not a simple translatory or rotary motion but several motions of different types, speeds and amplitudes composing to make a resultant whole. Just as one can compose colors, or forms, so one can compose motions.”

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Alexander Calder

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

“It is a matter of harmonizing these movements, thus arriving at a new possibility for beauty.”

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Alexander Calder

1930s, It Shall Move - On Mobile Sculptures (1932)

“As truly serious art must follow the greater laws, and not only appearances, I try to put all the elements in motion in my mobile sculptures.”

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Alexander Calder

1930s, It Shall Move - On Mobile Sculptures (1932)

“We notice the movement of automobiles and beings in the street, but we do not notice that the earth turns. We believe that automobiles go at a great speed on a fixed ground; yet the speed of the earth's rotation at the equator is 40,000 km every 24 hours.”

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Alexander Calder

1930s, It Shall Move - On Mobile Sculptures (1932)

“The various objects of the universe may be constant, at times, but their reciprocal relationships always vary.”

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Alexander Calder

1930s, It Shall Move - On Mobile Sculptures (1932)

“How can art be realized? Out of volumes, motion, spaces bounded by the great space, the universe. Out of different masses, tight, heavy, middling - indicated by variations of size or color - directional line - vectors which represent speeds, velocities, accelerations, forces, etc...”

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Alexander Calder

these directions making between them meaningful angles, and senses, together defining one big conclusion or many. Spaces, volumes, suggested by the smallest means in contrast to their mass, or even including them, juxtaposed, pierced by vectors, crossed by speeds. Nothing at all of this is fixed. Each element able to move, to stir, to oscillate, to come and go in its relationships with the other elements in its universe. It must not be just a fleeting moment but a physical bond between the varying events in life. Not extractions, but abstractions. Abstractions that are like nothing in life except in their manner of reacting.
1930s, How Can Art Be Realized? (1932)

“One of the canons of the futuristic painters, as propounded by Modigliani, was that objects behind other objects should not be lost to view, but should be shown through the others by making the latter transparent. The wire sculpture accomplishes this in a most decided manner.”

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Alexander Calder

1920s, Excerpt, Statement on Wire Sculpture (1929)

“Before, the wire studies were subjective, portraits, caricatures, stylized representations of beasts and humans. But these recent things have been viewed from a more objective angle and although their present size is diminutive, I feel that there is no limitation to the scale to which they can be enlarged....”

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Alexander Calder

1920s, Excerpt, Statement on Wire Sculpture (1929)

“In the Spring of 1926 I made some toy animals of curtain rods, broom handles, etc., and wire. Later, a few dolls, which I animated.... In the Winter of 1927–1928 I made some more toys for a friend to take home as gifts, and having shown them to De Creeft a Spanish sculptor with a very acute sense of humor, I was urged by him to make some more toys and to expose them at the Salon des Humoristes. I did this and then began to make more elaborate toys, with articulation, in which the movements got more and more realistic, always adhering to the same basic materials. In this way I have developed quite an elaborate circus of which animation is one of the chief characteristics....”

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Alexander Calder

1920s, Excerpt, Statement on Wire Sculpture (1929)

“The mobiles started when I went to see [[w:Piet Mondrian|Mondrian [in Paris, 1930]. I was impressed by several colored rectangles he had on the wall. Shortly after that I made some mobiles.”

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Alexander Calder

Question: How did the mobiles start?
1950s - 1960s, Excerpt, Interview with Alexander Calder (1962)

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