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亚历山大·卡尔德·卡尔德·恩茨(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.
人字形的太阳和峭壁197229 1/2 x 43 in.(74.93 x 109.22 cm)纸上水粉和墨水
种源
佩尔斯画廊，纽约
私人收藏，佛罗里达州，1974年

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"关于我的工作方法：首先是精神状态"。- 亚历山大-考尔德

历程

"那是一个清晨，在危地马拉附近的平静海面上，在我的沙发上--一卷绳子--我看到一边是火红的日出，另一边是看起来像银币的月亮。在整个旅行中，这给我留下了最深刻的印象；它给我留下了对太阳系的持久感觉。"

Zigzag, Sun, and Crags不是对发生在1922年6月9日的那次经历的纪念。这是一件令人振奋的作品，它颂扬了考尔德以独特的方式，通过放大我们对自然界动态的体验来传授自然界的奇迹。如果像他希望的那样，这幅作品能给他带来一种相互联系和归属感，就像他作为一个年轻的商船队员在危地马拉海岸所做的那样，那就更好了。

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  • 亚历山大-考尔德在他的工作室，1966年

    亚历山大-考尔德在他的工作室，1966年

  • 亚历山大-考尔德（Alexander Calder）由卡尔-范-韦克滕（Carl Van Vechten）拍摄，1947年

    亚历山大-考尔德（Alexander Calder）由卡尔-范-韦克滕（Carl Van Vechten）拍摄，1947年

"我的第一个灵感是宇宙，是行星系统"。- 亚历山大-考尔德

博物馆收藏的考尔德水粉画

"蓝色半圆"（1970 年），象牙色织纹纸上的水粉和黑色墨水，29 1/2英寸 x 43 3/8英寸。

芝加哥艺术学院

"蓝色半圆"（1970 年），象牙色织纹纸上的水粉和黑色墨水，29 1/2 英寸 x 43 3/8 英寸。 © 2023 考尔德基金会，纽约/艺术家权利协会（ARS），纽约
"无题"（1969 年），纸上水粉画，29 1/2 x 43 3/8 英寸 © 2023 考尔德基金会，纽约 / 艺术家权利协会（ARS），纽约

纽约现代艺术博物馆

"无题"（1969 年），纸上水粉画，29 1/2 x 43 3/8 英寸。 © 2023 考尔德基金会，纽约/艺术家权利协会（ARS），纽约
"无题"（1971 年），纸上水粉画，29 3/8 x 43 3/8 英寸© 2023 考尔德基金会，纽约/艺术家权利协会（ARS），纽约

所罗门-R-古根海姆博物馆，纽约

"无题"（1971 年），纸上水粉画，29 3/8 x 43 3/8 英寸。 © 2023 考尔德基金会，纽约/艺术家权利协会（ARS），纽约
"是的，我认为我是一个现实主义者。因为我做出了我所看到的东西。这只是看到它的问题。如果你能想象一个东西，在空间中把它变出来--那么你就能创造它，并且你就成了一个现实主义者。宇宙是真实的，但你不能看到它。你必须想象它。一旦你想象它，你就可以现实地再现它。"- 亚历山大-考尔德

图片库

  • Calder38824_gallery1
  • Calder38824_gallery2
  • Calder38824_gallery3
  • Calder38824_gallery4
  • Calder38824_gallery5
  • Calder38824_gallery6
  • Calder38824_gallery1
  • Calder38824_gallery2
  • Calder38824_gallery3
  • Calder38824_gallery4
  • Calder38824_gallery5
  • Calder38824_gallery6
© 2023年 考尔德基金会，纽约/艺术家权利协会（ARS），纽约

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