{"id":18445,"date":"2022-12-22T17:15:36","date_gmt":"2022-12-22T16:15:36","guid":{"rendered":"https:\/\/mucciaccia.com\/alexander-calder\/"},"modified":"2025-11-09T13:03:22","modified_gmt":"2025-11-09T12:03:22","slug":"alexander-calder","status":"publish","type":"post","link":"https:\/\/mucciaccia.com\/it\/alexander-calder\/","title":{"rendered":"Alexander Calder"},"content":{"rendered":"

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PANORAMICA<\/a>\u00a0 \u00a0OPERE<\/a>\u00a0 \u00a0MOSTRE<\/a>\u00a0 \u00a0PUBBLICAZIONI<\/a><\/p>\n

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Alexander Calder nacque nel 1898, secondogenito in una famiglia di artisti: il padre era scultore, la madre pittrice. I genitori lo incoraggiavano alla creativit\u00e0, e fin dagli otto anni Alexander pot\u00e9 sempre disporre di uno studio tutto per s\u00e9, dovunque la famiglia abitasse. A Natale del 1909 regal\u00f2 ai genitori due dei suoi primi lavori: un cagnolino e un’anatra ottenuti ritagliando e modellando una lastra di ottone; l’anatra \u00e8 una scultura cinetica, con un colpetto oscilla avanti e indietro. Aveva undici anni appena, ma la sua disinvoltura nella manipolazione dei materiali era evidente.
Pur essendo cos\u00ec dotato, il giovane non intraprese subito la carriera artistica, per parecchi anni, svolse le mansioni pi\u00f9 varie: ingegnere idraulico e nell’industria automobilistica, supervisore dei tempi di lavoro in un cantiere per l’abbattimento degli alberi e la lavorazione del legname, fuochista nel locale caldaie di una nave.<\/p>\n

Nel 1923 Calder si trasfer\u00ec a New York, iscrivendosi alla Art Students League, una scuola d’arte impostata in modo non convenzionale. Inoltre la \u00abNational Police Gazette\u00bb lo assunse come disegnatore, e nel 1925 gli affid\u00f2 l’incarico di seguire per due settimane i circhi Ringling Brothers e Barnum & Bailey, illustrandone le esibizioni in una serie di schizzi. Lo scultore non avrebbe mai abbandonato l’interesse per il circo; dopo essersi trasferito a Parigi nel 1926 cre\u00f2 il Cirque Calder [Circo Calder], un’opera complessa e irripetibile realizzata come un assemblaggio di minuscoli artisti, animali, attrezzi di scena simili a quelli usati dai Ringling Brothers, fatti con filo metallico, cuoio, stoffa, materiali di ricupero vari. Calder lo aveva progettato in modo che si potesse manovrarlo a mano; ogni pezzo era di dimensioni abbastanza ridotte da trovare posto in un grande baule, che l’artista portava con s\u00e9, riuscendo cos\u00ec ad allestire uno spettacolo ovunque si trovasse. Il primo ebbe luogo a Parigi di fronte a un pubblico di amici e colleghi e fu seguito da una serie di rappresentazioni, a Parigi come a New York, che ebbero grande successo.
L’artista scopr\u00ec che per il suo circo gli piaceva lavorare con il fil di ferro, e ben presto cominci\u00f2 a ricavare da questo materiale sculture in cui ritraeva gli amici e i personaggi di spicco del tempo. Nel 1928, quando la fama delle sue facolt\u00e0 inventive aveva cominciato a diffondersi, la Weyhe Gallery di New York lo present\u00f2 con una prima mostra personale, seguita ben presto da altre esposizioni, ancora a New York e poi a Parigi e a Berlino. Di conseguenza Calder trascorreva molto tempo in viaggio sui transatlantici tra Europa e America, e proprio durante una di queste traversate conobbe Louisa James (lo scrittore Henry James era il suo prozio), con la quale si spos\u00f2 nel gennaio 1931. Nello stesso periodo lo scultore stringeva amicizia con molti artisti e intellettuali divenuti famosi all’inizio del Novecento: Joan Mir\u00f3, Fernand L\u00e9ger, James Johnson Sweeney, Marcel Duchamp. Nell’ottobre 1930, visitando lo studio parigino di Piet Mondrian, Calder rimase profondamente colpito da una parete tutta cosparsa di rettangoli di cartone colorato, che il pittore spostava di continuo per i suoi esperimenti compositivi. Come raccontava l’artista negli anni seguenti, l’episodio lo aveva \u00abscioccato\u00bb, orientandolo definitivamente verso l’astrattismo totale. Nelle tre settimane dopo essere stato nello studio di Mondrian si dedic\u00f2 a realizzare in esclusiva dipinti astratti, ma questo serv\u00ec solo a fargli capire che in effetti le sue preferenze andavano alla scultura. Poco dopo fu invitato a far parte di Abstraction-Cr\u00e9ation [Astrazione-Creazione], un autorevole gruppo di artisti (fra i quali Arp, Mondrian, H\u00e9lion) dei quali era diventato amico.
L’autunno del 1931 segn\u00f2 una svolta importante nel suo percorso creativo: Calder realizz\u00f2 la sua prima vera scultura cinetica, dando vita a un genere artistico del tutto nuovo. Per il primo oggetto di questo tipo, reso mobile da un sistema di manovelle e motori, Marcel Duchamp trov\u00f2 il termine \u00abmobile\u00bb, una parola francese comparabile all’italiano \u00abmovente\u00bb, che contiene un’allusione al moto ma anche alla motivazione. Poco dopo lo scultore avrebbe rinunciato agli aspetti meccanici di questi lavori, rendendosi conto di poter realizzare mobiles capaci di oscillare da s\u00e9 grazie alle correnti d’aria. Per distinguere dalle altre le opere non cinetiche di Calder, gli oggetti fissi, Jean Arp li battezz\u00f2 \u00abstabiles\u00bb.
Nel 1933 i Calder lasciarono la Francia per rientrare negli Stati Uniti, dove acquistarono una vecchia casa colonica a Roxbury, nel Connecticut, alla quale era annesso un locale un tempo usato come ghiacciaia: questo, ristrutturato, divenne lo studio dell’artista. Nel corso degli anni Trenta l’artista disegn\u00f2 anche scenografie per i balletti di Martha Graham e di Eric Satie, continuando a presentare spettacoli del Cirque Calder.
Nello stesso decennio Calder comincia anche a cimentarsi nelle sculture per esterni, di grandi dimensioni. Al 1937 risale il suo primo stabile di grandi dimensioni (versione ingrandita di uno stabile precedente), imbullonato, realizzato per intero con lastre metalliche, al quale dette il titolo di Devil Fish [Pesce diavolo]. L’opera fu presentata dalla Pierre Matisse Gallery nella mostra Stabiles and Mobiles, in cui era esposta anche Big Bird [Grande uccello], un’altra grande scultura eseguita partendo da un modellino pi\u00f9 piccolo. Poco dopo Calder ricevette l’incarico di eseguire la Mercury Fountain [Fontana di Mercurio] per il padiglione della Spagna alla Fiera mondiale di Parigi (un’opera che simboleggiava la resistenza opposta al fascismo dai repubblicani spagnoli) e Lobster Trap and Fish Tail [Trappola per aragoste e coda di pesce], un mobile di notevoli dimensioni collocato nel vano della scalinata principale del Museum of Modern Art a New York.
Quando gli Stati Uniti entrarono in guerra,\u00a0 c’era penuria di materiali metallici, Calder cominci\u00f2 quindi \u00a0a servirsi sempre pi\u00f9 spesso del legno, arrivando a realizzare un ulteriore genere di originali sculture, che Sweeney e Duchamp definirono \u00abcostellazioni.
Negli anni Quaranta e Cinquanta Calder ebbe una produttivit\u00e0 artistica considerevole, inaugurata nel 1939 con la prima retrospettiva dei suoi lavori, nella George Walter Vincent Smith Gallery di Springfield, nel Massachusetts. Nel 1949 l’artista cre\u00f2 il mobile pi\u00f9 grande che avesse mai fatto, International Mobile [Mobile internazionale], per presentarlo nella terza Mostra internazionale di scultura del Museum of Art di Filadelfia. Nel 1950 anche la Galerie Maeght di Parigi present\u00f2 una sua mostra, e in seguito divenne il suo mercante in esclusiva per Parigi, un rapporto destinato a durare per ventisei anni, fino alla morte di Calder nel 1976. Negli anni Sessanta Calder era ormai riconosciuto in tutto il mondo come artista di grande talento. Nel 1964 il Guggenheim Museum di New York gli allest\u00ec una retrospettiva; cinque anni dopo fu la Fondazione Maeght di Saint-Paul-de-Vence a celebrarlo a sua volta con una mostra retrospettiva.
Nel 1976 lo scultore assistette all’inaugurazione di un’altra retrospettiva, intitolata Calder’s Universe [L’universo di Calder], nel Whitney Museum of American Art di New York. Si spense a settantotto anni poche settimane dopo a New York.<\/p>\n

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OPERE<\/h2>\n

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Giacomo Balla, Figura – sdraiata + spazio<\/em>, 1918ca, pencil on tissue paper lying on canvas, 34.8×51.4 cm<\/p>\n

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MOSTRE<\/h2>\n

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STORYBOARDS | INTERNI E VEDUTE<\/h4>\n

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09 March \u2013 12 May 2018<\/p>\n

ROME<\/h6>\n

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PUBBLICAZIONI<\/h2>\n

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PIZZI CANNELLA, En plein air<\/h4>\n

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Exhibition Catalogue
Curated by Archivio Pizzi Cannella and Galleria Mucciaccia
Essay by Franco Rella
Published by Carlo Cambi Editore, 2019.<\/p>\n

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Piero Pizzi Cannella \u2013 Exhibition Catalogue<\/h4>\n

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Exhibition Catalogue,\u00a0
published by Carlo Cambi Editore
2014<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.19.2″ _module_preset=”default” custom_padding=”||80px||false|false” global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.19.2″ _module_preset=”default” custom_padding=”||80px||false|false” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#c9c9c9″ _builder_version=”4.16″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_text module_class=”hyperlink-color-image” _builder_version=”4.19.2″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

Artisti<\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

PANORAMICA\u00a0 \u00a0OPERE\u00a0 \u00a0MOSTRE\u00a0 \u00a0PUBBLICAZIONIAlexander Calder nacque nel 1898, secondogenito in una famiglia di artisti: il padre era scultore, la madre pittrice. I genitori lo incoraggiavano alla creativit\u00e0, e fin dagli otto anni Alexander pot\u00e9 sempre disporre di uno studio tutto per s\u00e9, dovunque la famiglia abitasse. A Natale del 1909 regal\u00f2 ai genitori due dei […]<\/p>\n","protected":false},"author":8,"featured_media":18775,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"Alexander Calder was born in 1898, the second son in a family of artists: his father was a sculptor, his mother a painter. His parents encouraged him to be creative, and from the age of eight Alexander always had his own studio wherever the family lived. At Christmas 1909 he gave his parents two of his first works: a small dog and a duck made by cutting out and shaping a sheet of brass; the duck is a kinetic sculpture, with a tap it swings back and forth. He was only eleven years old, but his ease in handling materials was evident.\r\n\r\nAlthough he was so gifted, the young man did not immediately embark on an artistic career. For several years, he worked in a wide variety of jobs: as a hydraulic engineer and in the automobile industry, as a time supervisor in a logging and timber yard, and as a stoker in the boiler room of a ship.\r\n\r\nIn 1923 Calder moved to New York and enrolled in the Art Students League, an unconventional art school. In addition, the National Police Gazette hired him as a draftsman, and in 1925 commissioned him to follow the Ringling Brothers and Barnum & Bailey circuses for a fortnight, illustrating their performances in a series of sketches. The sculptor would never abandon his interest in the circus; after moving to Paris in 1926, he created the Cirque Calder [Calder Circus], a complex and unrepeatable work created as an assemblage of tiny performers, animals, and props similar to those used by the Ringling Brothers, made of wire, leather, cloth, and various recycled materials. Calder had designed it in such a way that it could be manoeuvred by hand; each piece was small enough to fit into a large trunk, which the artist carried with him, thus being able to put on a show wherever he went. The first one took place in Paris in front of an audience of friends and colleagues and was followed by a series of performances, in Paris as well as in New York, which were very successful.\r\n\r\nThe artist discovered that he liked to work with wire for his circus, and soon began to carve sculptures from this material in which he portrayed friends and prominent figures of the time. In 1928, when the fame of his inventive faculties had begun to spread, the Weyhe Gallery in New York presented him with a first solo exhibition, soon followed by other exhibitions, again in New York and then in Paris and Berlin. As a result, Calder spent a lot of time travelling on ocean liners between Europe and America, and it was during one of these crossings that he met Louisa James (the writer Henry James was his great-uncle), to whom he married in January 1931. At the same time, the sculptor made friends with many artists and intellectuals who had become famous in the early 20th century: Joan Mir\u00f3, Fernand L\u00e9ger, James Johnson Sweeney, Marcel Duchamp. In October 1930, while visiting Piet Mondrian's Parisian studio, Calder was deeply impressed by a wall completely strewn with coloured cardboard rectangles, which the painter continuously moved for his compositional experiments. As the artist recounted in later years, the episode had \"shocked\" him, orienting him definitively towards total abstractionism. During the three weeks after being in Mondrian's studio, he devoted himself exclusively to abstract paintings, but this only served to make him realise that his preference was in fact for sculpture. Shortly afterwards he was invited to join Abstraction-Cr\u00e9ation [Abstraction-Creation], an influential group of artists (including Arp, Mondrian, H\u00e9lion) with whom he had become friends.\r\n\r\nThe autumn of 1931 marked an important turning point in his creative journey: Calder created his first true kinetic sculpture, giving rise to an entirely new artistic genre. For the first object of this kind, made mobile by a system of cranks and motors, Marcel Duchamp found the term 'mobile', a French word comparable to the Italian 'movente', which contains an allusion to motion but also to motivation. Shortly afterwards, the sculptor would renounce the mechanical aspects of these works, realising that he could make mobiles capable of oscillating by themselves thanks to air currents. To distinguish Calder's non-kinetic works from the others, the fixed objects, Jean Arp christened them 'stabiles'.\r\n\r\nIn 1933, the Calders left France and returned to the United States, where they purchased an old farmhouse in Roxbury, Connecticut, to which was attached a room that had once been used as an icehouse: this, renovated, became the artist's studio. During the 1930s the artist also designed sets for Martha Graham's and Eric Satie's ballets and continued to present Cirque Calder shows.\r\n\r\nIn the same decade Calder also began to try his hand at large-scale outdoor sculptures. In 1937 he created his first large-scale building (an enlarged version of an earlier building), bolted together and made entirely of metal sheets, to which he gave the title Devil Fish. The work was presented by the Pierre Matisse Gallery in the exhibition Stabiles and Mobiles, which also featured Big Bird, another large sculpture made from a smaller model. Shortly afterwards Calder was commissioned to execute Mercury Fountain for the Spanish pavilion at the Paris World's Fair (a work that symbolised the resistance to fascism by Spanish republicans) and Lobster Trap and Fish Tail, a large piece of furniture placed in the main stairwell of the Museum of Modern Art in New York.\r\n\r\nWhen the United States entered the war, there was a shortage of metal materials, so Calder began to make increasing use of wood, leading to a further genre of original sculptures, which Sweeney and Duchamp called 'constellations.\r\n\r\nIn the 1940s and 1950s Calder had a considerable artistic productivity, which was inaugurated in 1939 with the first retrospective of his work at the George Walter Vincent Smith Gallery in Springfield, Massachusetts. In 1949, the artist created the largest piece of furniture he had ever made, International Mobile, to be presented in the Third International Sculpture Exhibition at the Museum of Art in Philadelphia. In 1950 the Galerie Maeght in Paris also presented an exhibition of his work, and later became his exclusive dealer in Paris, a relationship that was to last for twenty-six years until Calder's death in 1976. By the 1960s Calder was recognised worldwide as an artist of great talent. In 1964, the Guggenheim Museum in New York put on a retrospective exhibition of his work; five years later, the Maeght Foundation in Saint-Paul-de-Vence celebrated him in turn with a retrospective exhibition.\r\n\r\nIn 1976, the sculptor attended the opening of another retrospective, entitled Calder's Universe, at the Whitney Museum of American Art in New York. He passed away at the age of seventy-eight a few weeks later in New York.","_et_gb_content_width":"","footnotes":""},"categories":[201],"tags":[],"class_list":["post-18445","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-moderni"],"acf":[],"_links":{"self":[{"href":"https:\/\/mucciaccia.com\/it\/wp-json\/wp\/v2\/posts\/18445","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mucciaccia.com\/it\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mucciaccia.com\/it\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mucciaccia.com\/it\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/mucciaccia.com\/it\/wp-json\/wp\/v2\/comments?post=18445"}],"version-history":[{"count":0,"href":"https:\/\/mucciaccia.com\/it\/wp-json\/wp\/v2\/posts\/18445\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mucciaccia.com\/it\/wp-json\/wp\/v2\/media\/18775"}],"wp:attachment":[{"href":"https:\/\/mucciaccia.com\/it\/wp-json\/wp\/v2\/media?parent=18445"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mucciaccia.com\/it\/wp-json\/wp\/v2\/categories?post=18445"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mucciaccia.com\/it\/wp-json\/wp\/v2\/tags?post=18445"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}