merry control
Alexander Calder had pictured this time a person with itself and an object in balance. Two legs seem to walk forward. It's weird, but another leg has an elegant bending.
This is not a static balance. This is shown by the red and yellow colors on the front side. The dynamics is enhanced by the black and white surfaces on the back side.
Most striking are the turning circle and the moving arrow.
This is how we like to be: happy and self-controlled with rotating elements while we are standing wide legged or we are even walking.
I am learning that I am happy and doing a difficult task at the same time. Also, I have learned to do this self-confident.
By Theo, www.artatsite.com
Vertaling
vrolijk onder controle
Alexander Calder heeft dit keer een persoon uitgebeeld die zichzelf en een object in balans houdt. Twee benen lijken naar voren te lopen. Het is vreemd maar n g een ander been heeft een elegante buiging.
Dit is geen statische balans. Dit blijkt uit de rode en gele kleuren aan de voorkant. De dynamiek wordt versterkt doordat er aan de achterkant zwarte en witte vlakken zijn.
Het meest opvallende is wel de draaiende cirkel en de bewegende pijl.
Dit is wat wij ook willen: vrolijk en onder controle elementen draaien terwijl wij wijdbeens staan of zelfs lopen.
Ik leer ervan dat ik vrolijk kan zijn en tegelijk iets moeilijks doe. Ook leer ik ervan om dit zelfverzekerd te doen.
Door Theo, www.artatsite.com
www.welt-der-form.net:
Alexander Calder (*1898 Lawton/Pennsylvania 1976 New York):
Crinkly avec disque rouge (1973) 1979 aufgestellt. Stahl gefasst, 800 x 832 cm. Standort: Schlossplatz, vor dem Kunstmuseum Stuttgart. Eigent mer: Stadt Stuttgart / Verm gen und Bau Baden-W rttemberg. An ffentlichen Stra en und Pl tzen gibt es in Europa nur sehr wenige Arbeiten des Altmeisters der kinetischen Kunst. Dies ist das meines Wissens einzige Mobile. Foto: 7/2008 TEW. Alle Rechte vorbehalten.
www.context.reverso.net:
crinklty (english),
rid , pliss , gaufr , froiss , froufroutant, fris , cr pus (francais).
www.artsology.com:
Calder's sculptural work can be broken down into two categories: "mobilesand "stabiles.Mobiles are sculptures that utilize balance and movement, and have also been called "kinetic art.A mobile usually has a number of objects that hang from a single string, and the artist has arranged them so that their weights balance each other based on how they are positioned.
Araignee Rouge, however, is considered a "stabile.It's stable and stationary, so it's the opposite of something that is mobile and moving. Calder explained the difference between stabiles and mobiles this way: "You have to walk around a stabile or through it - a mobile dances in front of you."
By making a large sculpture, Calder is presenting the viewer with an object that cannot be viewed in just one way. Unlike viewing a painting on the wall, where one stands in front of it to view it, the stabiles forces the viewer to assess the sculpture from multiple vantage points. The sculpture appears one way when viewed from 20 feet away, it appears different when viewed from 5 feet away, different again when underneath it, different again when viewing from the other side.
H.W. Janson, Anthony Janson (2004):
One important development which Surrealism produced in the early 1930s were the mobile sculptures of the American Alexander Calder (1898 - 1976).
Called mobiles for short, they are delicately balanced constructions of metal wire, hinged together and weighted so as to move with the slightest breath of air.
Unpredictable and ever-changing, such mobiles incorporate the fourth dimension as an essential element.
Kinetic sculpture had been conceived first by the Constructivists. Their influence is evident in Calder s earliest mobiles, which were motor-driven and tended toward abstract geometric forms.
Calder was also affected early on by Mondrian, whose use of primary colors he adopted. Like Mondrian, he initially thought of his constructions as self-contained miniature universes.
But it was his contact with Surrealism that made him realize the poetic possibilities of 'natural' rather than fully controlled movement. He borrowed biomorphic shapes from Mir and began to conceive of mobiles as counterparts to organic structures: flowers on flexible stems, foliage quivering in the breeze, marine animals floating in the sea. Infinitely responsive to their enironment, they seem amazingly alive.
Alexander Calder had pictured this time a person with itself and an object in balance. Two legs seem to walk forward. It's weird, but another leg has an elegant bending.
This is not a static balance. This is shown by the red and yellow colors on the front side. The dynamics is enhanced by the black and white surfaces on the back side.
Most striking are the turning circle and the moving arrow.
This is how we like to be: happy and self-controlled with rotating elements while we are standing wide legged or we are even walking.
I am learning that I am happy and doing a difficult task at the same time. Also, I have learned to do this self-confident.
By Theo, www.artatsite.com
Vertaling
vrolijk onder controle
Alexander Calder heeft dit keer een persoon uitgebeeld die zichzelf en een object in balans houdt. Twee benen lijken naar voren te lopen. Het is vreemd maar n g een ander been heeft een elegante buiging.
Dit is geen statische balans. Dit blijkt uit de rode en gele kleuren aan de voorkant. De dynamiek wordt versterkt doordat er aan de achterkant zwarte en witte vlakken zijn.
Het meest opvallende is wel de draaiende cirkel en de bewegende pijl.
Dit is wat wij ook willen: vrolijk en onder controle elementen draaien terwijl wij wijdbeens staan of zelfs lopen.
Ik leer ervan dat ik vrolijk kan zijn en tegelijk iets moeilijks doe. Ook leer ik ervan om dit zelfverzekerd te doen.
Door Theo, www.artatsite.com
www.welt-der-form.net:
Alexander Calder (*1898 Lawton/Pennsylvania 1976 New York):
Crinkly avec disque rouge (1973) 1979 aufgestellt. Stahl gefasst, 800 x 832 cm. Standort: Schlossplatz, vor dem Kunstmuseum Stuttgart. Eigent mer: Stadt Stuttgart / Verm gen und Bau Baden-W rttemberg. An ffentlichen Stra en und Pl tzen gibt es in Europa nur sehr wenige Arbeiten des Altmeisters der kinetischen Kunst. Dies ist das meines Wissens einzige Mobile. Foto: 7/2008 TEW. Alle Rechte vorbehalten.
www.context.reverso.net:
crinklty (english),
rid , pliss , gaufr , froiss , froufroutant, fris , cr pus (francais).
www.artsology.com:
Calder's sculptural work can be broken down into two categories: "mobilesand "stabiles.Mobiles are sculptures that utilize balance and movement, and have also been called "kinetic art.A mobile usually has a number of objects that hang from a single string, and the artist has arranged them so that their weights balance each other based on how they are positioned.
Araignee Rouge, however, is considered a "stabile.It's stable and stationary, so it's the opposite of something that is mobile and moving. Calder explained the difference between stabiles and mobiles this way: "You have to walk around a stabile or through it - a mobile dances in front of you."
By making a large sculpture, Calder is presenting the viewer with an object that cannot be viewed in just one way. Unlike viewing a painting on the wall, where one stands in front of it to view it, the stabiles forces the viewer to assess the sculpture from multiple vantage points. The sculpture appears one way when viewed from 20 feet away, it appears different when viewed from 5 feet away, different again when underneath it, different again when viewing from the other side.
H.W. Janson, Anthony Janson (2004):
One important development which Surrealism produced in the early 1930s were the mobile sculptures of the American Alexander Calder (1898 - 1976).
Called mobiles for short, they are delicately balanced constructions of metal wire, hinged together and weighted so as to move with the slightest breath of air.
Unpredictable and ever-changing, such mobiles incorporate the fourth dimension as an essential element.
Kinetic sculpture had been conceived first by the Constructivists. Their influence is evident in Calder s earliest mobiles, which were motor-driven and tended toward abstract geometric forms.
Calder was also affected early on by Mondrian, whose use of primary colors he adopted. Like Mondrian, he initially thought of his constructions as self-contained miniature universes.
But it was his contact with Surrealism that made him realize the poetic possibilities of 'natural' rather than fully controlled movement. He borrowed biomorphic shapes from Mir and began to conceive of mobiles as counterparts to organic structures: flowers on flexible stems, foliage quivering in the breeze, marine animals floating in the sea. Infinitely responsive to their enironment, they seem amazingly alive.