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אלכסנדר קלדר(1898-1976)

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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.
זיגזג שמש וצוקים197229 1/2 x 43 אינץ'. (74.93 x 109.22 ס"מ) גואש ודיו על נייר
מקור ומקור
גלריות פרלס, ניו יורק
אוסף פרטי, פלורידה, 1974

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לברר

"על שיטת העבודה שלי: קודם כל זה מצב נפשי." – אלכסנדר קאלדר

היסטוריה

"זה היה בוקר אחד מוקדם בים רגוע, ליד גואטמלה, כאשר מעל הספה שלי - סליל של חבל - ראיתי את תחילתה של זריחה אדומה לוהטת מצד אחד ואת הירח נראה כמו מטבע כסף מצד שני. מכל הטיול זה הרשים אותי יותר מכל; זה הותיר אותי עם תחושה מתמשכת של מערכת השמש."

זיגזג, סאן וקרגס אינם מזכרת מהחוויה ההיא, שהתרחשה ב-9 ביוני 1922. זוהי יצירה מלהיבה החוגגת את דרכו הבלתי ניתנת לחיקוי של קאלדר להקנות את פלא הדינמיקה של הטבע על ידי העצמת החוויה שלנו ממנו. אם, כפי שהוא עשוי לרצות, זה מביא תחושה של קשר ושייכות כפי שעשה לו לאורך חופי גואטמלה כסוחר מארינס צעיר, כל כך הרבה יותר טוב.

לברר
  • אלכסנדר קאלדר בסטודיו שלו, 1966

    אלכסנדר קאלדר בסטודיו שלו, 1966

  • אלכסנדר קלדר צולם על ידי קרל ואן וכטן, 1947

    אלכסנדר קלדר צולם על ידי קרל ואן וכטן, 1947

"ההשראה הראשונה שהייתה לי הייתה היקום, המערכת הפלנטרית." – אלכסנדר קלדר

קלדר גואצ'ס באוספי מוזיאונים

"חצי עיגול כחול" (1970), גואש ודיו שחור על נייר שנהב, 29 וחצי אינץ' x 43 3/8 אינץ' © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק

המכון לאמנות של שיקגו

"חצי עיגול כחול" (1970), גואש ודיו שחור על נייר שנהב, 29 וחצי אינץ' x 43 3/8 אינץ'. © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק
"ללא כותרת" (1969), גואש על נייר, 29 1/2 x 43 3/8 אינץ' © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק

המוזיאון לאמנות מודרנית, ניו יורק

"ללא כותרת" (1969), גואש על נייר, 29 1/2 x 43 3/8 אינץ' © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק
"ללא כותרת" (1971), גואש על נייר, 29 3/8 x 43 3/8 אינץ' © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק

מוזיאון סולומון ר. גוגנהיים, ניו יורק

"ללא כותרת" (1971), גואש על נייר, 29 3/8 x 43 3/8 אינץ' © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק
"כן, אני חושב שאני ריאליסט. כי אני עושה את מה שאני רואה. זו רק הבעיה לראות את זה. אם אתה יכול לדמיין דבר, להעלות אותו בחלל - אז אתה יכול לעשות את זה, ו tout de suite אתה מציאותי. היקום הוא אמיתי אבל אתה לא יכול לראות את זה. אתה צריך לדמיין את זה. ברגע שאתה מדמיין את זה, אתה יכול להיות מציאותי לגבי שכפול זה." – אלכסנדר קלדר

גלריית תמונות

  • Calder38824_gallery1
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  • Calder38824_gallery3
  • Calder38824_gallery4
  • Calder38824_gallery5
  • Calder38824_gallery6
  • Calder38824_gallery1
  • Calder38824_gallery2
  • Calder38824_gallery3
  • Calder38824_gallery4
  • Calder38824_gallery5
  • Calder38824_gallery6
© 2023 קרן קאלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק 

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