亚历山大·考尔德全部影视作品
首发于 qinglite.cn，统计截止日：2025-01-09
 水中的四条鱼 | - |
| 奶牛 | - |
| 马戏团 | - |
| 考尔德的马戏团 | Calder enrolled at the Art Students League in New York and also took a job illustrating for the National Police Gazette. The magazine sent him to sketch scenes from the local circus for two weeks, and so began a lifelong interest. In 1926 he moved to Paris and created his Cirque Calder, a sort of travelling circus set made from cloth, leather, wire and found materials. The pieces represented circus performers which were designed to be manipulated manually by Calder. Soon he was presenting his Cirque Calder in both Paris and New York to much acclaim. The performance lasted two hours and in many ways predated performance art by 40 years. Cirque Calder is now part of the permanent collection of the Whitney Museum in New York, but a live performance carried out by the artist in later years can be seen on youtube.com. |
| 一个人的肖像 | - |
| 斯普林 | When Alexander Calder first exhibited Spring (Printemps, 1928) along with other wire creations in the 1928 exhibition of the Society of Independent Artists, the New York Times heralded the arrival of his nontraditional sculptural materials in a review declaring “Copper wire and bureau drawer knobs made their first appearance as mediums of artistic expression yesterday.” Calder, the son and grandson of classical sculptors, attributed his turn away from modeling clay or “mud” to his “childhood as a boy in the midst of my family, always enthusiastic about toys and string, and always a junkman of bits of wire and all the prettiest stuff in the garbage can.”The allegorical Spring is monumental in subject and scale, standing over seven feet tall. Like a spontaneous line drawing, her form is described by both sweeping outlines and intricate detail—the looped flower in her hand, the undulating strand of hair, or the artist’s clever signature dangling below her waist. In New York, audiences reportedly tugged at her breasts, wood doorstops bought at the five-and-ten-cent store, and while on view at the Salon des Independents in Paris in 1929, viewers pulled her to the side, allowing her to sway back and forth. Calder then rolled Spring into a bale with another wire sculpture and stored the works with a friend until his 1964–65 retrospective at the Guggenheim. According to Calder, when he disentangled the thirty-five year old Spring, she “had all the freshness of youth—of my youth.” |
| 罗穆卢斯和雷穆斯 | Romulus and Remus represents the mythological founders of Rome being suckled by a protective she-wolf. This scene, often depicted in Western art, is rendered here in a most whimsical manner: both the boys’ genitals and the wolf’s nipples are represented by wooden doorstops. The sculpture’s armature consists of a single wire that is twisted and bent to suggest both volume and void. Romulus and Remus is a drawing executed in space; its calligraphic outline is the equivalent of Calder’s rapid, abbreviated pencil-and-pen sketches of acrobats and animals. Although entertaining and uncomplicated in execution, it explores issues critical to 20th-century sculpture: the interchangeability of space and mass, translucency, and the relation of two- to three-dimensionality. While Calder experimented with other unusual materials, his favorite medium was wire. Its flexibility and capacity to vibrate may have inspired his kinetic sculptures. |
| 象 | - |
| 约瑟芬·贝克（三） | Calder's illustrations for the National Police Gazette were often made of single, continuous lines. He learned this technique in mechanical drawing classes at the Art Students League. In 1925, Calder was the first to extend this line drawing approach into three dimensions. He soon began creating figurative and portrait sculptures using only wire to "draw in space." His several sculptures of dancer Josephine Baker were his earliest works in this direction. These artworks were important in furthering both his career-long use of wire and his interest in open-space sculpture. |
| 海伦·威尔斯 | - |
| 黑色作品 | - |
| 黄色紧身衣 | - |
| 杂技演员 | - |
| 空心蛋 | - |
| 钩织编结地毯 | - |
| 仅有一只鸟 | - |
| 梳 | - |
| 狗 | - |
| 高速 | - |
| X和它的尾巴 | - |
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