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亚历山大-考尔德水粉画选集

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亚历山大-考尔德的所有作品

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Alexander Calder was a key figure in the development of abstract sculpture and is renowned for his groundbreaking work in kinetic art; he is one of the most influential artists of the Twentieth Century. "Prelude to Man-Eater" is a delicately balanced standing sculpture that responds to air currents, creating a constantly changing and dynamic visual experience.<br><br>Calder's Standing Mobiles were a result of his continuous experimentation with materials, form, and balance. This Standing Mobile is a historically significant prelude to a larger work commissioned in 1945 by Alfred Barr, the first director of the Museum of Modern Art in New York. "Prelude to Maneater" is designed to be viewed from multiple angles, encouraging viewers to walk around and interact with it.<br><br>The present work is a formal study for Man-Eater With Pennant (1945), part of the permanent collection of the Museum of Modern Art in New York. The work is also represented in "Sketches for Mobiles: Prelude to Man-Eater; Starfish; Octopus", which is in the permanent collection of the Harvard Fogg Museum.<br><br>Calder's mobiles and stabiles can be found in esteemed private collections and the collections of major museums worldwide, including the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London among others.

亚历山大·卡尔德

噬人者的前奏

59 x 42 x 18 英寸

金属板、金属丝、油漆

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.

亚历山大·卡尔德

28 3/4 x 36 1/4 in.

画布上的油画

Well known for his candor and pragmatic sensibility, Alexander Calder was as direct, ingenious, and straight to the point in life as he was in his art. “Personnages”, for example, is unabashedly dynamic, a work that recalls his early love of the action of the circus as well as his insights into human nature. The character of “Personnages” suggests a spontaneous drawing-in-space, recalling his radical wire sculptures of the 1920s.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

亚历山大·卡尔德

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

© 2023年考尔德基金会，纽约/艺术家权利协会（ARS），纽约

亚历山大·卡尔德

太空中的龙卷风

30 1/2 x 22 1/2 in.

纸上的墨水

ALEXANDER CALDER - 殖民地生物 - 纸上水粉和墨水 - 43 x 29 1/2 英寸。

亚历山大·卡尔德

殖民地生物体

43 x 29 1/2 英寸。

纸上的水粉和墨水

亚历山大-考尔德的作品《Rouge Mouille》（湿红）以红色圆圈为背景，一些圆圈像爆炸一样散开，营造出一种活力四射的膨胀感，另一些圆圈则向下延伸，犹如烟花表演的流线型轨迹。这个动画背景上点缀着许多不透明的圆球，以黑色为主，但也穿插着醒目的蓝色、红色和微妙的黄色球体。五颜六色的球体与爆炸性的红色相映成趣，捕捉到了焰火表演的震撼和壮观，将这幅画转化为这一令人眼花缭乱的庆祝活动的视觉隐喻。这幅艺术作品充满了兴奋和活力，以静态的媒介概括了烟花的短暂之美。

亚历山大·卡尔德

42 1/4 x 29 5/8 in.

纸上的水粉和墨水

© 2023年考尔德基金会，纽约/艺术家权利协会（ARS），纽约

亚历山大·卡尔德

三个金字塔+蓝球

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York<br>Two Crosses by Alexander Calder is a striking work on paper, blending transparent watercolor and gouache, showcasing his signature repertoire of shapes and symbols. At its heart lies a large, black 'X' on a fluid, grayish wash, and nearby, a smaller, opaque black cross overlapping a semi-opaque red ball, and to its left, a roundish transparent wash patch hosts a black crescent shape. Several spheres in black provide accompaniment, and the artist's favored primary colors, and at the lower margin, his charming undulating line. Calder's sparing use of watercolor allows the paper's white to showcase the forms and symbols, creating a dynamic, impactful artwork where simplicity and the interplay of transparent and opaque elements captivate the viewer.

亚历山大·卡尔德

两个十字架

21 1/8 x 29 1/2 in.

纸上的水粉和墨水

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.

亚历山大·卡尔德

人字形的太阳和峭壁

29 1/2 x 43 in.

纸上的水粉和墨水

亚历山大-考尔德（Alexander Calder）的水粉画作品 "Wigwam rouge et jaune "是对设计和色彩的生动探索。这幅画的构图以对角线格为主，对角线在顶点附近相交，呈现出一种动态平衡。考尔德用红色和黄色的菱形引入了奇思妙想的元素，为作品注入了童趣，营造出节日的气氛。右倾线条顶点的红色小球唤起了人们的奇思妙想，而左倾线条顶端的灰色小球则提供了对比和平衡。考尔德巧妙地将简洁和重要的设计元素融合在一起，使 Wigwam rouge et jaune 成为一种视觉享受。

亚历山大·卡尔德

红色和黄色的Wigwam

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

© 2023年考尔德基金会，纽约/艺术家权利协会（ARS），纽约

亚历山大·卡尔德

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

ALEXANDER CALDER - 方向 - 纸上水粉和墨水 - 29 1/2 x 43 1/4 英寸。

亚历山大·卡尔德

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

ALEXANDER CALDER - 米奇老鼠 - 水粉和水墨纸 - 30 x 43 3/8 英寸。

亚历山大·卡尔德

30 x 43 3/8英寸

纸上的水粉和墨水

ALEXANDER CALDER - 红色的花瓣，蓝色的月亮 - 纸上水粉和墨水 - 29 1/2 x 43 1/4 英寸。

亚历山大·卡尔德

红色的花瓣，蓝色的月亮

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

ALEXANDER CALDER - 森林 - 纸上水粉和墨水 - 43 x 29 1/4 in.

亚历山大·卡尔德

43 x 29 1/4 英寸。

纸上的水粉和墨水

ALEXANDER CALDER - 轨迹 - 水粉和墨水在纸上 - 29 3/8 x 41 1/8 英寸。

亚历山大·卡尔德

29 3/8 x 41 1/8 in.

纸上的水粉和墨水

© 2023年考尔德基金会，纽约/艺术家权利协会（ARS），纽约

亚历山大·卡尔德

30 3/4 x 22 1/2 in.

纸上的水粉和墨水

© 2023年考尔德基金会，纽约/艺术家权利协会（ARS），纽约

亚历山大·卡尔德

43 3/8 x 30 in.

纸上的水粉和墨水

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