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拍品專文
'When everything goes right a mobile is a piece of poetry that dances with the joy of life and surprises'
(A. Calder, Calder, London, 2004, p. 261)
Composed of a group of red circular elements moving organically around each other, Huit Rondelles Rouges exemplifies the dynamic sense of movement and color that Calder inserted into his most memorable works. The graceful arc composed of the red elements is carefully counter-balanced by each individual element. This graceful balancing act is evidence of Calder's exceptional talents not only as an artist, but also as an engineer, a talent which enabled him to harness the physical forces of his chosen medium with such spectacular and delightful effect. Added to his engineering skill is his bold use of color, which when combined with the sensation of movement, produces some of the most visually spectacular works of his generation. For Calder, color was not a representational force but rather an emotional one, in much the same way as the historical pioneers in non-traditional use of color such as Henri Matisse and Andr Derain. As Calder himself once commented: 'I want things to be differentiated. Black and white are first - then red is next. I often wish that I had been a fauve in 1905.' (A. Calder, Calder, London 2004, p. 89).
The color, shape, and line of Huit Rondelles Rouges closely relate to the visual language of another modern master, Joan Miro. Calder and Miro were friends for much of their lives: they met in Paris in the 1920s and developed as artists alongside each other as peers. Both were interested in bringing elements of play and whimsicality into their art, and both sought to depict elements from nature in their work through the use of abstract forms. Both artists' styles contain floating biomorphic forms that are connected by delicate black lines; in the case of Miro's work, the forms float against an atmospheric background, in Calder's, the forms literally float in the air.
Huit Rondelles Rouges clearly demonstrates the all-encompassing universality of Calder's art. His unique ability was to create works of exquisitely balanced composition which retain their harmony when moved by the merest breath of wind. The strikingly elegant elements are all coupled together using a series of exceptional mechanisms that allow them to move independently of each other yet retaining a unity that ensures that none of the elements dominate or touch each other. While it conjures up the association of a constellation, the present work is not fettered by any direct notion of representation. Instead, it interacts with its environment and its viewer, participating actively in the universe in its own right. A push or a gust of wind will set its carefully balanced elements in motion, introducing the magical element of chance and movement that make Calder's sculptures so fascinating. As Calder himself said, 'When everything goes right a mobile is a piece of poetry that dances with the joy of life and surprises' (A. Calder, Calder, London, 2004, p. 261).
This work is registered in the archives of the Calder Foundation, New York, under application number A14013.
(A. Calder, Calder, London, 2004, p. 261)
Composed of a group of red circular elements moving organically around each other, Huit Rondelles Rouges exemplifies the dynamic sense of movement and color that Calder inserted into his most memorable works. The graceful arc composed of the red elements is carefully counter-balanced by each individual element. This graceful balancing act is evidence of Calder's exceptional talents not only as an artist, but also as an engineer, a talent which enabled him to harness the physical forces of his chosen medium with such spectacular and delightful effect. Added to his engineering skill is his bold use of color, which when combined with the sensation of movement, produces some of the most visually spectacular works of his generation. For Calder, color was not a representational force but rather an emotional one, in much the same way as the historical pioneers in non-traditional use of color such as Henri Matisse and Andr Derain. As Calder himself once commented: 'I want things to be differentiated. Black and white are first - then red is next. I often wish that I had been a fauve in 1905.' (A. Calder, Calder, London 2004, p. 89).
The color, shape, and line of Huit Rondelles Rouges closely relate to the visual language of another modern master, Joan Miro. Calder and Miro were friends for much of their lives: they met in Paris in the 1920s and developed as artists alongside each other as peers. Both were interested in bringing elements of play and whimsicality into their art, and both sought to depict elements from nature in their work through the use of abstract forms. Both artists' styles contain floating biomorphic forms that are connected by delicate black lines; in the case of Miro's work, the forms float against an atmospheric background, in Calder's, the forms literally float in the air.
Huit Rondelles Rouges clearly demonstrates the all-encompassing universality of Calder's art. His unique ability was to create works of exquisitely balanced composition which retain their harmony when moved by the merest breath of wind. The strikingly elegant elements are all coupled together using a series of exceptional mechanisms that allow them to move independently of each other yet retaining a unity that ensures that none of the elements dominate or touch each other. While it conjures up the association of a constellation, the present work is not fettered by any direct notion of representation. Instead, it interacts with its environment and its viewer, participating actively in the universe in its own right. A push or a gust of wind will set its carefully balanced elements in motion, introducing the magical element of chance and movement that make Calder's sculptures so fascinating. As Calder himself said, 'When everything goes right a mobile is a piece of poetry that dances with the joy of life and surprises' (A. Calder, Calder, London, 2004, p. 261).
This work is registered in the archives of the Calder Foundation, New York, under application number A14013.