לבררהיסטוריהמוטיביםתובנות שוקתוצאות המכירה הפומביתאוספי המוזיאוןמשאבים נוספיםעבודות דומות
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אלכסנדר קלדר(1898-1976)

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Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement. Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement. Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement. Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement. Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement. Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement. Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement. Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement. Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement. Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.<br><br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.<br><br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”<br><br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement.
הצלב194828 3/4 x 36 1/4 אינץ '. (73.03 × 92.08 ס"מ) שמן על בד
מקור ומקור
גלריה פרלס, ניו יורק
אוסף פרטי, שנרכש מהנ"ל
תערוכה
גלריית קריין, לונדון, קאלדר: שמנים, גואשים, מוביילים ושטיחי קיר, 5 במרץ- 1 במאי 1992
גב
לברר

"בעיניי הדבר החשוב ביותר בהלחנה הוא הפער." – אלכסנדר קאלדר

היסטוריה

אלכסנדר קאלדר ביצע מספר מפתיע של ציורי שמן במחצית השנייה של שנות ה-40 ותחילת שנות ה-50. בשלב זה, ההלם של ביקורו ב-1930 בסטודיו של מונדריאן, שם התרשם לא מהציורים אלא מהסביבה, התפתח לשפה אמנותית משלו של קאלדר . לכן, כשקאלדר צייר את "הצלב" ב-1948, הוא כבר היה על סף הכרה בינלאומית והיה בדרכו לזכייה בפרס הגדול של הביאנלה של ונציה XX VI לפיסול ב-1952. בעבודה על ציוריו בתיאום עם הפרקטיקה הפיסולית שלו, קאלדר ניגש לשני המדיומים באותה שפה צורנית ושליטה באותה צורה וצבע.

קאלדר הסתקרן עמוקות מהכוחות הבלתי נראים שמחזיקים חפצים בתנועה. אם ניקח את העניין הזה מפיסול לקנבס, נראה שקאלדר בנה תחושה של מומנט בתוך הצלב על ידי הסטת המישורים והאיזון שלו. באמצעות אלמנטים אלה, הוא יצר תנועה מרומזת המרמזת על כך שהדמות לוחצת קדימה או אפילו יורדת מהשמיים שמעל. התנופה הנחושה של הצלב מועצמת עוד יותר על ידי פרטים כגון זרועותיו המושטות בהדגשה של הנושא, וקטור התלתלים דמוי האגרוף משמאל, ודמות הנחש בעל הצללית.

קאלדר גם מאמץ חוט חזק של נטישה פואטית על פני השטח של הצלב. זה מהדהד את השפה החזותית ההיראטית והאישית של חברו הטוב מירו , אבל זה הכל קאלדר באנימציה האפקטיבית של האלמנטים השונים של הציור הזה. אין אמן שזכה לרישיון פואטי יותר מאשר קאלדר, ולאורך כל הקריירה שלו, האמן נשאר גמיש בהבנתו את הצורה והקומפוזיציה. הוא אפילו קידם בברכה את שלל הפרשנויות של אחרים, וכתב ב-1951: "זה שאחרים תופסים את מה שיש לי בראש נראה לא חיוני, לפחות כל עוד יש להם משהו אחר בשלהם".

כך או כך, חשוב לזכור כי הצלב צויר זמן קצר לאחר הטלטלה של מלחמת העולם השנייה ולחלק נראה כהשתקפות מפוכחת של התקופה. יותר מכל, הצלב מוכיח שאלכסנדר קאלדר העמיס את המכחול שלו קודם כדי לעבד רעיונות על צורה, מבנה, יחסים בחלל, והכי חשוב, תנועה.

לברר
"חוש התנועה בציור ובפיסול נחשב זה מכבר לאחד המרכיבים העיקריים של הקומפוזיציה." – אלכסנדר קלדר

תובנות שוק

  • Calder_AMR
  • קאלדר מאז 2014 AMR
  • הגרף של Art Market Research מראה כי מאז ינואר 1976, ערך יצירות האמנות של קאלדר עלה ב-5068.8%. במהלך אותה תקופה של שמונה שנים, שיעור התשואה השנתי עבור יצירותיו של קאלדר היה 8.7%.
  • בגרף השני אנו רואים כי ערך יצירות האמנות של קאלדר עלה ב-66% מאז נובמבר 2014, והביא לשיעור תשואה שנתי של 6.3%.
  • בעוד שקאלדר היה אמן פורה, ציורי שמן על בד כמו הצלב הם בין הדוגמאות הנדירות ביותר לעבודתו של האמן.
לברר

ציורים דומים שנמכרו במכירה פומבית

שמן על בד, 120X140 ס"מ נמכר בסותבי'ס ניו יורק: 11 בנובמבר 2014. © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק

"Personnage" (1946) נמכר ב-1,865,000 דולר.

שמן על בד, 120X140 ס"מ נמכר בסותבי'ס ניו יורק: 11 בנובמבר 2014. © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק
  • צויר שנתיים לפני הצלב
  • צבעים דומים, אך ההפשטה בצלב ניתנת יותר להתייחסות
  • הציור הזה, שנמכר במכירה פומבית ב-2014, היה שווה היום הרבה יותר מ-3 מיליון דולר
שמן על בד, 48X60 אינץ' נמכר בסותבי'ס ניו יורק: 14 בנובמבר 2018. © 2023 Calder Foundation, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק

"Fond rouge" (1949) נמכר ב-1,815,000 דולר.

שמן על בד, 48X60 אינץ' נמכר בסותבי'ס ניו יורק: 14 בנובמבר 2018. © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק
  • צויר שנה אחת בלבד לאחר הצלב
  • הפשטה נחמדה, אבל לא מרגשת מבחינה קומפוזיציונית כמו הצלב
  • הרקע כאן הוא בצבע אחד בלבד, בעוד ש-The Cross מאזן מספר גוונים ברקע שלו

ציורים דומים באוספי המוזיאון

Surveyor's Instruments (1955), שמן על בד, 24X18 אינץ' © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק

גלריית האמנות של אוניברסיטת ייל

Surveyor's Instruments (1955), שמן על בד, 24X18 אינץ' © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק
ספירלה ומדחף (1956), שמן על בד, 17 7/8 x 26 1/8 אינץ' © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק

מוזיאון סן פרנסיסקו לאמנות מודרנית

ספירלה ומדחף (1956), שמן על בד, 17 7/8 x 26 1/8 אינץ' © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק
ללא כותרת (1930), שמן על בד, 32X26 אינץ' © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק

Museé National de la coopération franco-americaine, Blérancourt, צרפת

ללא כותרת (1930), שמן על בד, 32X26 אינץ' © 2023 קרן קלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק
"אם אתה יכול לדמיין דבר, להעלות אותו בחלל - אז אתה יכול לעשות את זה... היקום אמיתי אבל אי אפשר לראות אותו. אתה צריך לדמיין את זה. ברגע שאתה מדמיין את זה, אתה יכול להיות מציאותי לגבי שחזור זה." – אלכסנדר קאלדר

גלריית תמונות

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משאבים נוספים

צפו בתצוגת הקבע הגדולה בעולם של עבודות של קאלדר בבניין המזרחי של הגלריה הלאומית לאמנות.

הגלריה הלאומית לאמנות גלריית מגדל

צפו בתצוגת הקבע הגדולה בעולם של עבודות של קאלדר בבניין המזרחי של הגלריה הלאומית לאמנות.
השתמש במפה האינטראקטיבית של קרן קאלדר כדי לחקור את העולם באמצעות האמנות של קאלדר.

קאלדר מסביב לעולם

השתמש במפה האינטראקטיבית של קרן קאלדר כדי לחקור את העולם באמצעות האמנות של קאלדר.
ראו את קאלדר עובד בסרט זה משנת 1950 שהופק על ידי New World Film Productions עבור המוזיאון לאמנות מודרנית.

יצירותיו של קאלדר

ראו את קאלדר עובד בסרט זה משנת 1950 שהופק על ידי New World Film Productions עבור המוזיאון לאמנות מודרנית.
צפו בתערוכה של SFMOMA על עבודותיו של קאלדר, המוצגת עד מאי 2023.

אלכסנדר קאלדר: הרמוניה דיסוננטית

צפו בתערוכה של SFMOMA על עבודותיו של קאלדר, המוצגת עד מאי 2023.
© 2023 קרן קאלדר, ניו יורק / האגודה לזכויות אמנים (ARS), ניו יורק 

לברר

בקשה - סינגל אמנותי

יצירות אחרות מאת אלכסנדר קלדר

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