الاستفسارالتاريخمجموعات المتحفالأعمال المماثلة
العودة

ألكسندر كالدر (1898-1976)

الفنان بيو الاستفسارحميل PDF
 
Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“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. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better. Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“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. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better. Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“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. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better. Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“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. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better. Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“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. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better. Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“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. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better. Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“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. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better. Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“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. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better. Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“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. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better. Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“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. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better.
زيغزاج صن وكراج197229 1/2 × 43 بوصة. (74.93 × 109.22 سم) الغواش والحبر على الورق
الاصل
معارض بيرلس، نيويورك
مجموعة خاصة، فلوريدا، 1974

195,000

العودة
الاستفسار

"حول طريقة عملي: أولا إنها الحالة الذهنية." - ألكسندر كالدر

التاريخ

"كان ذلك في وقت مبكر من صباح أحد الأيام على بحر هادئ ، قبالة غواتيمالا ، عندما رأيت على أريكتي - لفائف من الحبل - بداية شروق الشمس الأحمر الناري على جانب واحد والقمر يبدو وكأنه عملة فضية على الجانب الآخر. من الرحلة بأكملها أثار إعجابي أكثر من أي شيء آخر. لقد تركني مع إحساس دائم بالنظام الشمسي ".

Zigzag و Sun و Crags ليست تذكارا لتلك التجربة التي حدثت في 9 يونيو 1922. إنه عمل مبهج يحتفل بطريقة كالدر الفريدة في نقل عجائب ديناميكيات الطبيعة من خلال تضخيم تجربتنا لها. إذا كان ، كما قد يرغب ، يجلب إحساسا بالترابط والانتماء كما فعل معه على طول ساحل غواتيمالا عندما كان شابا في البحرية التجارية ، فهذا أفضل بكثير.

الاستفسار
  • ألكسندر كالدر في الاستوديو الخاص به ، 1966

    ألكسندر كالدر في الاستوديو الخاص به ، 1966

  • ألكسندر كالدر تصوير كارل فان فيختن ، 1947

    ألكسندر كالدر تصوير كارل فان فيختن ، 1947

"كان أول مصدر إلهام لي على الإطلاق هو الكون ، النظام الكوكبي." - ألكسندر كالدر

كالدر غواش في مجموعات المتاحف

"نصف دائرة زرقاء" (1970) ، غواش وحبر أسود على ورق منسوج عاجي ، 29 1/2 بوصة × 43 3/8 بوصة. © 2023 مؤسسة كالدر ، نيويورك / جمعية حقوق الفنانين (ARS) ، نيويورك

معهد الفنون في شيكاغو

"نصف الدائرة الزرقاء" (1970) ، الغواش والحبر الأسود على ورق منسوج عاجي ، 29 1/2 بوصة × 43 3/8 بوصة. © 2023 مؤسسة كالدر ، نيويورك / جمعية حقوق الفنانين (ARS) ، نيويورك
"بدون عنوان" (1969) ، غواش على ورق ، 29 1/2 × 43 3/8 بوصة. © 2023 مؤسسة كالدر ، نيويورك / جمعية حقوق الفنانين (ARS) ، نيويورك

متحف الفن الحديث، نيويورك

"بدون عنوان" (1969) ، غواش على ورق ، 29 1/2 × 43 3/8 بوصة. © 2023 مؤسسة كالدر ، نيويورك / جمعية حقوق الفنانين (ARS) ، نيويورك
"بدون عنوان" (1971) ، غواش على ورق ، 29 3/8 × 43 3/8 بوصة. © 2023 مؤسسة كالدر ، نيويورك / جمعية حقوق الفنانين (ARS) ، نيويورك

متحف سولومون آر غوغنهايم، نيويورك

"بدون عنوان" (1971) ، غواش على ورق ، 29 3/8 × 43 3/8 بوصة. © 2023 مؤسسة كالدر ، نيويورك / جمعية حقوق الفنانين (ARS) ، نيويورك
"نعم ، أعتقد أنني واقعي. لأنني أصنع ما أراه. انها فقط مشكلة رؤيتها. إذا كنت تستطيع تخيل شيء ما ، واستحضاره في الفضاء - فيمكنك صنعه ، والترويج ل de suite أنت واقعي. الكون حقيقي ولكن لا يمكنك رؤيته. عليك أن تتخيل ذلك. بمجرد أن تتخيلها ، يمكنك أن تكون واقعيا بشأن إعادة إنتاجها. "- ألكسندر كالدر

معرض الصور

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  • Calder38824_gallery1
  • Calder38824_gallery2
  • Calder38824_gallery3
  • Calder38824_gallery4
  • Calder38824_gallery5
  • Calder38824_gallery6
© 2023 مؤسسة كالدر ، نيويورك / جمعية حقوق الفنانين (ARS) ، نيويورك 

الاستفسار

الاستعلام - الفن واحد

أعمال أخرى لألكسندر كالدر

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