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{{S|arte|statunitensi}}
{{T|lingua=inglese|argomento=arte|data=settembre 2007| [[Utente:91.122.94.170|91.122.94.170]] 12:19, 12 set 2007 (CEST)}}{{S|arte|statunitensi}}

{{Bio
{{Bio
|Nome = Alexander
|Nome = Alexander
|Cognome = Calder
|Cognome = Calder
|Sesso = M
|Sesso = M
|LuogoNascita = Lawnton (Pennsylvania)
|LuogoNascita = Lawnton
|GiornoMeseNascita = 22 luglio
|GiornoMeseNascita = 22 luglio
|AnnoNascita = 1898
|AnnoNascita = 1898
Riga 17: Riga 18:
[[Immagine: calder-montreal.jpg|right|200px|thumb|''Man'', a "stabile" by Alexander Calder; Terre des Hommes (Expo 67 fairground), Saint Helen's Island, [[Montreal]]]]
[[Immagine: calder-montreal.jpg|right|200px|thumb|''Man'', a "stabile" by Alexander Calder; Terre des Hommes (Expo 67 fairground), Saint Helen's Island, [[Montreal]]]]
E' famoso per l'invenzione di grandi sculture di [[arte cinetica]] chiamati '''mobili'''.
E' famoso per l'invenzione di grandi sculture di [[arte cinetica]] chiamati '''[[Mobile (scultura)|mobili]]'''.


Oltre che alle opere di scultura, mobile e stabile, Alexander Calder si dedicò anche alla pittura, alle [[Litografia (arte)|litografie]], a progettare [[Giocattolo|giocattoli]], [[arazzo|arazzi]] e [[tappeti]].
Oltre che alle opere di scultura, mobile e stabile, Alexander Calder si dedicò anche alla pittura, alle [[Litografia (arte)|litografie]], a progettare [[Giocattolo|giocattoli]], [[arazzo|arazzi]] e [[tappeti]].

==Biografia==
{{T|lingua=inglese|argomento=arte|data=settembre 2008}}

La famiglia di Calder è di stampo artistico.
Il nonno di Calder, lo scultore Alexander Milne Calder, nacque in [[Scozia]] ed immigrò a [[Philadelphia]] nel [[1868]].
Il padre, Alexander Stirling Calder, era un noto scultore che ha prodotto molte [[installazioni]] pubbliche, per lo più a Philadelphia.
La madre di Calder, Nanette Lederer Calder, era una [[ritrattista]] professionista che condusse i suoi studi presso l'[[Académie Julian]] e presso la [[Sorbonne]] a [[Parigi]] dal [[1888]] al [[1893]].
In seguito si spostò a Philadelphia per frequentare l'Accaemia delle Arti della Pennsylvania (Pennsylvania Academy of the Fine Arts)<ref>[http://www.herbertpalmergallery.com/main_pages/artists/calder_nanette_bio.html Herbert Palmer Gallery - Nanette Calder<!-- Bot generated title -->]</ref> , qui incontrò Alexander Stirling Calder e lo sposò il [[22 febbraio]] [[1895]].
Un anno dopo, nel 1896, nasceva la sorella di Calder
Margaret “Peggy„ Calder una delle personalità importanti nella fondazione del ''Berkeley Art Museum and Pacific Film Archive''<ref>Hayes, Margaret Calder, Three Alexander Calders: A Family Memoir. Middlebury, VT: Paul S Eriksson, 1977.</ref>.
Nel [[1902]], all'età di quattro anni, Calder posò nudo per la scultura del padre ''The man Cub'' (il cucciolo dell'uomo) ora ammirabile al [[Metropolitan Museum of Art]] a [[New York]]. Nello stesso anno, Calder completa la sua prima scultura, un elefante d'argilla. <ref>Calder, Alexander and Davidson, Jean, Calder, An Autobiography with Pictures. New York: Pantheon Books, 1966, p. 13</ref>.






==Opere==
<!--
<!--
* ''Dog'' (1909), folded brass sheet; this was made as a present for Calder's parents


Three years later, when Calder was seven and his sister was nine, Stirling Calder contracted [[tuberculosis]] and Calder’s parents moved to a ranch in [[Oracle, Arizona]], leaving the children in the care of family friends for a year.<ref>See website (Wikipedia blacklisted URL)—www.suite101.com/article.cfm/american_artists/81069</ref> The children were reunited with their parents in late March, 1906 and stayed at the ranch in Arizona until fall of the same year.<ref>[http://www.calder.org/ Calder Foundation]</ref>
* ''The Flying Trapeze'' (1925), oil on canvas, 36 x 42 in.

After Arizona, the Calder family moved to Pasadena, California. The windowed cellar of the family home became Calder’s first studio and he received his first set of tools. He used scraps of copper wire that he found in the streets to make jewelry and beads for his sister’s dolls. On January 1, 1907, Calder’s mother took him to the Tournament of Roses and he observed a four-horse-chariot race. This style of event later became the finale of Calder’s wire circus shows.<ref>Calder, Alexander and Davidson, Jean, Calder, An Autobiography with Pictures. New York: Pantheon Books, 1966, pp. 21-22.</ref>


In 1909, when Calder was in the fourth grade, he sculpted a dog and a duck out of sheet brass as Christmas gifts for his parents. The sculptures were three dimensional and the duck was kinetic because it rocked when gently tapped. These sculptures are frequently cited as early examples of Calder’s skill.<ref>[http://www.sfmoma.org/espace/calder/calder_childhood.html Alexander Calder: Childhood Sculpture</ref>

In 1910, Stirling Calder’s rehabilitation was complete and the Calder family moved back to Philadelphia, where he briefly attended the [[Germantown Academy]], and then to [[Croton-on-Hudson]] in New York.<ref>[http://www.sfmoma.org/espace/calder/calder_childhood.html Alexander Calder: Childhood Sculpture]</ref> In Croton, during his early high school years, Calder was befriended by the painter [[Everett Shinn]] with whom he built a gravity powered system of mechanical trains. As Calder described:

: ''We ran the train on wooden rails held by spikes; a chunk of iron racing down the incline speeded the cars. We even lit up some cars with candle lights.''<ref>Calder, Alexander and Davidson, Jean, Calder, An Autobiography with Pictures. New York: Pantheon Books, 1966, p. 31.</ref>

After Croton, the Calders moved to [[Spuyten Duyvil Creek|Spuyten Duyvil]] to be closer to the [[Tenth Street Studio Building]] in New York, where Stirling Calder rented a studio. While living in Spuyten Duyvil, Calder attended [[Yonkers Public Schools|Yonkers High]].

In 1912, Stirling Calder was appointed acting chief of the Department of Sculpture of the [[Panama Pacific International Exposition]] in [[San Francisco]].<ref>[http://calder.org/chronology/period/1898-1930/10 Calder Foundation]</ref> He began work on sculptures for the exposition that was held in 1915. During Alexander Calder’s high school years between 1912 and 1915, the Calder family moved back and forth between New York and California. In each new location Calder’s parents reserved cellar space as a studio for their son. Toward the end of this period, Calder stayed with friends in California while his parents moved back to New York so that he could graduate from [[Lowell High School (San Francisco)|Lowell High School in San Francisco]]. Calder graduated in the class of 1915.
Although Calder’s parents encouraged his creativity as a child, they discouraged their children from becoming artists, knowing that it was an uncertain and financially difficult career. In 1915, Calder decided to study mechanical engineering after learning about the discipline from a classmate at Lowell High School named Hyde Lewis. Stirling Calder arranged for his son's enrollment at the [[Stevens Institute of Technology]] in [[Hoboken, New Jersey|Hoboken]], [[New Jersey]].

Calder joined the football team during his freshman year at Stevens and practiced with the team all four years, but he never played in a game. He also played [[lacrosse]], at which he was more successful. He was a member of the [[Delta Tau Delta]] fraternity. He excelled in the subject of mathematics.

In the summer of 1916, Calder spent five weeks training at the Plattsburg Civilian Military Training Camp. In 1917, he joined the Student’s Army Training Corps, Naval Section, at Stevens and was made guide of the battalion.
[[Image:Calder-redmobile.jpg|thumb|right|280px|''Red Mobile'', 1956. Painted sheet metal and metal rods, [[Montreal Museum of Fine Arts]].]]
:''I learned to talk out of the side of my mouth and have never been quite able to correct it since.''<ref>Calder, Alexander and Davidson, Jean, Calder, An Autobiography with Pictures. New York: Pantheon Books, 1966, p. 47.</ref>

Calder received a degree from Stevens in 1919. For the next several years, he worked a variety of engineering jobs, including working as a hydraulics engineer and a draughtsman for the New York Edison Company, but he was not content in any of the roles.

In June 1922, Calder started work as a fireman in the boiler room of the passenger ship ''H. F. Alexander''. While the ship sailed from [[San Francisco]] to [[New York City]], Calder worked on deck of the [[Guatemala|Guatemalan Coast]] and witnessed both the sun rising and the moon setting on opposite horizons. As he described in his autobiography:

: ''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''.

The ''H.F. Alexander'' docked in San Francisco and Calder traveled up to Aberdeen, Washington where his sister lived with her husband, Kenneth Hayes. Calder took a job as a timekeeper at a logging camp. The mountain scenery inspired him to write home to request paints and brushes. Shortly after this, Calder decided to move back to New York to pursue a career as an artist.-->

==Carriera artistica==
{{T|lingua=inglese|argomento=arte|data=settembre 2008}}
Alla decisione di diventare un artista, seguì il viaggio di Calder verso New York per iscriversi alla scuola d'arte ''Art Students League of New York''.

<!--While a student, he worked for the ''[[National Police Gazette]]'' where, in 1925, one of his assignments was sketching the [[Ringling Brothers and Barnum and Bailey Circus]]. Calder became fascinated with the circus, a theme that would reappear in his later work.

In 1926, Calder moved to [[Paris]]. He established a studio at 22 rue Daguerre in the [[Montparnasse|Montparnasse Quarter]]. At the suggestion of a [[Serbia]]n toy merchant, he began to create toys with articulation. He never found the toy merchant again, but, at the urging of fellow sculptor [[Jose de Creeft]], he submitted his toys to the Salon des Humoristes. Later that fall, Calder began to create his ''[[Cirque Calder]]'', a miniature circus fashioned from wire, string, rubber, cloth, and other found objects. Designed to fit into suitcases (it eventually grew to fill five), Calder could travel with his circus and hold performances on both sides of the Atlantic. He gave elaborately improvised shows, recreating the performance of a real circus. Soon, his "[[Cirque Calder]]"[http://ubu.artmob.ca/video/Calder-Alexander_Le-cirque.avi][http://www.sfmoma.org/espace/calder/calder_cirque.html] (usually on view at the [[Whitney Museum of American Art]], but currently under renovation until Oct. 2008) became popular with the Parisian avant-garde. Some months Calder would charge an entrance fee to pay his rent.[http://www.nga.gov/education/classroom/counting_on_art/popups/pop_calder_1.htm][http://www.ubu.com/film/calder.html]
[[Image:calder-montreal.jpg|thumb|left|280px|''[[Man]]'', a "stabile" by Alexander Calder; Terre des Hommes (Expo 67 fairground), [[Saint Helen's Island]], [[Montreal]].]]
In 1927, Calder returned to the United States. He designed several kinetic wooden push and pull toys for children, which he had mass-produced by the Gould Manufacturing Company, in Oshkosh, WI. His originals, as well as playable replicas, are on display in the [[Berkshire Museum]] in [[Pittsfield, Massachusetts]].

In 1928, Calder held his first solo show at a commercial gallery at the Weyhe Gallery in [[New York City]]. In 1934, he had his first solo museum exhibition in the United States at [[The Renaissance Society]] at the [[University of Chicago]].

In 1929, Calder had his first solo show of wire sculpture in Paris at Galerie Billiet. The painter [[Jules Pascin]], a friend of Calder's from the cafes of [[Montparnasse]], wrote the preface.

In June 1929, while traveling from Paris to New York, Calder met his future wife, Louisa James, grandniece of author [[Henry James]] and philosopher [[William James]]. They married in 1931.

While in Paris, Calder met and became friends with a number of avant-garde artists, including [[Joan Miró]], [[Jean Arp]], and [[Marcel Duchamp]]. A visit to [[Piet Mondrian]]'s studio in 1930 "shocked" him into embracing [[abstract art]].

The [[Cirque Calder]] can be seen as the start of Calder's interest in both [[wire sculpture]] and [[kinetic art]]. He maintained a sharp eye with respect to the engineering balance of the sculptures and utilized these to develop the kinetic sculptures Duchamp would ultimately dub as "[[mobile (sculpture)|mobiles]]". He designed some of the characters in the circus to perform suspended from a thread. However, it was the mixture of his experiments to develop purely abstract sculpture following his visit with [[Piet Mondrian|Mondrian]] that lead to his first truly kinetic sculptures, manipulated by means of cranks and pulleys.

By the end of 1931, he had quickly moved on to more delicate sculptures which derived their motion from the air currents in the room. From this, Calder's true "mobiles" were born. At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by [[Hans Arp|Arp]] to differentiate them from mobiles.

Calder and Louisa returned to America in 1933 to settle in a farmhouse they purchased in [[Roxbury, Connecticut]], where they raised a family (first daughter, Sandra born 1935, second daughter, Mary, in 1939). Calder continued to give "[[Cirque Calder]]" performances but also worked with [[Martha Graham]], designing stage sets for her ballets and created a moving stage construction to accompany [[Eric Satie]]'s ''[[Socrate]]'' in 1936.

His first public commission was a pair of mobiles designed for the theater opened in 1937 in the [[Berkshire Museum]] in [[Pittsfield, Massachusetts]].

During [[World War II]], Calder attempted to join the [[United States Marine Corps|Marines]] as a camofleur, but was rejected. Instead, he continued to sculpt, but a scarcity of metal led to him producing work in [[wood carving|carved wood]].

Calder's first retrospective was held in 1938 at George Walter Vincent Smith Gallery in [[Springfield, Massachusetts]]. In 1943, the [[Museum of Modern Art]] hosted a well-received Calder retrospective, curated by [[James Johnson Sweeney]] and [[Marcel Duchamp]].

Calder was one of 250 sculptors who exhibited in the [[3rd Sculpture International]] held at the [[Philadelphia Museum of Art]] in the summer of 1949. His mobile, ''International Mobile'' was the centerpiece of the exhibition and hangs in 2006 where it was placed in 1949.

In the 1950s, Calder increasingly concentrated his efforts on producing monumental sculptures. Notable examples are ".125" for [[JFK Airport]] in 1957, "La Spirale" for [[UNESCO]] in Paris 1958 and "L'Homme" ("Man") for Expo '67 in Montreal. Calder's largest sculpture, at 20.5 m high, was "El Sol Rojo", constructed for the [[Olympic games]] in [[Mexico City]].
[[Image:'The Crab', painted steel sculpture by Alexander Calder, 1962, Museum of Fine Arts, Houston.JPG|thumb|right|260px|Alexander Calder, ''The Crab,'' painted steel, 1962, [[Museum of Fine Arts, Houston]]]]

In 1966, Calder published his ''Autobiography with Pictures'' with the help of his son-in-law, Jean Davidson.

In June 1969, Calder attended the dedication of his monumental stabile ''“La Grande Vitesse”'' located in the city of [[Grand Rapids, Michigan]]. This sculpture is notable for being the first public work of art in the United States to be funded with federal monies; acquired with funds granted from the then new [[National Endowment for the Arts]] under its “Art for Public Places” program.

Calder created a sculpture called ''WTC Stabile'' (also known as ''The Cockeyed Propeller'' and ''Three Wings''), which in 1971 was installed at the entrance of the [[World Trade Center]]'s North Tower. When [[Battery Park City]] opened, the sculpture was moved to Vesey and Church Streets.<ref>{{cite news |url=http://www.ifar.org/911_public2.htm |title=Public Art at the World Trade Center |author=Wenegrat, Saul |publisher=International Foundation for Art Research |date=2002-02-28 |accessdate=2007-07-27}}</ref> It stood in front of [[7 World Trade Center]] when it was destroyed on [[September 11, 2001]].<ref>[http://www.loc.gov/loc/lcib/0211/911-treasures.html Lives and Treasures Taken, The Library of Congress] Retrieved 27 July, 2007.</ref>

In 1973, Calder was commissioned by [[Braniff International Airways]] to paint a full-size [[Douglas DC-8|DC-8-62]] as a "flying canvas", In 1975, Calder completed a second plane, this time a [[Boeing 727|Boeing 727-227]], as a tribute to the [[U.S. Bicentennial]].

Calder died on [[November 11]], [[1976]], shortly following the opening of another major retrospective show at the [[Whitney Museum of American Art|Whitney Museum]] in New York. Calder had been working on a third plane, entitled ''Tribute to Mexico'', when he died.

Two months after his death, Calder was posthumously awarded the [[Presidential Medal of Freedom]], the United States' highest civilian honor, by President [[Gerald Ford]]. However, representatives of the Calder family boycotted the [[January 10]], [[1977]] ceremony "to make a statement favoring amnesty for [[Vietnam War]] draft resisters".<ref>[http://www.medaloffreedom.com/FAQ.htm Presidential Medal of Freedom website: Frequently Asked Questions page]</ref>.

In 1987, The Calder Foundation was founded by Calder's family. The Foundation not only serves as his official Estate, but also "runs its own programs, collaborates on exhibitions and publications, and gives advice on matters such as the history, authenticity, and restoration of works by Calder."<ref>[http://calder.org/foundation/page/trustees.html Calder Foundation website: Trustees page]</ref> The U.S. copyright representative for the Calder Foundation is the [[Artists Rights Society]]<ref>[http://calder.org/home/page/about.html Calder Foundation website: Copyright and Disclaimers page]</ref>.

In 2003, nearly 30 years after his death, an untitled work of his sold for $5.2 million at Christie's New York.<ref>[http://artsalesindex.artinfo.com/artsalesindex/aps/lots/8345195 Auction Results: Alexander Calder's Untitled]</ref>
-->


==Selezione delle opere==
{{T|lingua=inglese|argomento=arte|data=settembre 2008}}

* ''Dog'' (1909) <!--, folded brass sheet; this was made as a present for Calder's parents -->

* ''The Flying Trapeze'' (1925) <!-- oil on canvas, 36 x 42 in.-->


* ''Elephant'' (c. 1928), wire and wood, 11 1/2 x 5 3/4 x 29.2 in.
* ''Elephant'' (c. 1928) <!--, wire and wood, 11 1/2 x 5 3/4 x 29.2 in. -->


* ''Two Acrobats'' (ca. 1928), Brass wire, painted wood base, [[Honolulu Academy of Arts]]
* ''Two Acrobats'' (ca. 1928)<!--, Brass wire, painted wood base, [[Honolulu Academy of Arts]]-->


* ''Aztec Josephine Baker'' (c. 1929), wire, 53" x 10" x 9". A representation of [[Josephine Baker]] the exuberant lead dancer from ''La Révue Nègre'' at the [[Folies Bergère]].
* ''Aztec Josephine Baker'' (c. 1929)<!--, wire, 53" x 10" x 9". A representation of [[Josephine Baker]] the exuberant lead dancer from ''La Révue Nègre'' at the [[Folies Bergère]]. -->


* ''Untitled'' (1931), wire, wood and motor; one of the first kinetic mobiles.
* ''Untitled'' (1931)<!--, wire, wood and motor; one of the first kinetic mobiles. -->


* ''Feathers'' (1931), wire, wood and paint; first true mobile, although designed to stand on a desktop
* ''Feathers'' (1931)<!--, wire, wood and paint; first true mobile, although designed to stand on a desktop -->


* ''Cone d'ebene'' (1933), ebony, metal bar and wire; early suspended mobile (first was made in 1932).
* ''Cone d'ebene'' (1933)<!--, ebony, metal bar and wire; early suspended mobile (first was made in 1932).-->


* ''Form Against Yellow'' (1936), sheet metal, wire, plywood, string and paint; wall- supported mobile.
* ''Form Against Yellow'' (1936) <!--, sheet metal, wire, plywood, string and paint; wall- supported mobile.


* ''Object with Yellow Background'' (1936), Painted wood, metal, string, [[Honolulu Academy of Arts]]
* ''Object with Yellow Background'' (1936), Painted wood, metal, string, [[Honolulu Academy of Arts]]
Riga 122: Riga 221:
* {{en}} [http://www.calder.org/ Fondazione Alexander Calder]
* {{en}} [http://www.calder.org/ Fondazione Alexander Calder]


==Note==
<references/>




Versione delle 09:45, 20 set 2008

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Alexander Calder

Alexander Calder (Lawnton, 22 luglio 1898 – New York, 11 novembre 1976) è stato uno scultore statunitense.

Man, a "stabile" by Alexander Calder; Terre des Hommes (Expo 67 fairground), Saint Helen's Island, Montreal

E' famoso per l'invenzione di grandi sculture di arte cinetica chiamati mobili.

Oltre che alle opere di scultura, mobile e stabile, Alexander Calder si dedicò anche alla pittura, alle litografie, a progettare giocattoli, arazzi e tappeti.

Biografia

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Data "settembre 2008" non riconosciuta. Sintassi: {{T|lingua|argomento|mese anno}}

La famiglia di Calder è di stampo artistico. Il nonno di Calder, lo scultore Alexander Milne Calder, nacque in Scozia ed immigrò a Philadelphia nel 1868. Il padre, Alexander Stirling Calder, era un noto scultore che ha prodotto molte installazioni pubbliche, per lo più a Philadelphia. La madre di Calder, Nanette Lederer Calder, era una ritrattista professionista che condusse i suoi studi presso l'Académie Julian e presso la Sorbonne a Parigi dal 1888 al 1893. In seguito si spostò a Philadelphia per frequentare l'Accaemia delle Arti della Pennsylvania (Pennsylvania Academy of the Fine Arts)[1] , qui incontrò Alexander Stirling Calder e lo sposò il 22 febbraio 1895. Un anno dopo, nel 1896, nasceva la sorella di Calder Margaret “Peggy„ Calder una delle personalità importanti nella fondazione del Berkeley Art Museum and Pacific Film Archive[2]. Nel 1902, all'età di quattro anni, Calder posò nudo per la scultura del padre The man Cub (il cucciolo dell'uomo) ora ammirabile al Metropolitan Museum of Art a New York. Nello stesso anno, Calder completa la sua prima scultura, un elefante d'argilla. [3].



Carriera artistica

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Alla decisione di diventare un artista, seguì il viaggio di Calder verso New York per iscriversi alla scuola d'arte Art Students League of New York.


Selezione delle opere

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  • Dog (1909)
  • The Flying Trapeze (1925)
  • Elephant (c. 1928)
  • Two Acrobats (ca. 1928)
  • Aztec Josephine Baker (c. 1929)
  • Untitled (1931)
  • Feathers (1931)
  • Cone d'ebene (1933)
  • Form Against Yellow (1936)

Sculture monumentali in Italia

L'unica scultura monumentale dell'artista presente in Italia si trova nella città di Spoleto: si tratta del Teodelapio (scultura in acciaio verniciato di nero che ritrae un re longobardo a cavallo) che Calder realizzò nel 1962 per la mostra "Sculture nella Città" in occasione del Festival dei Due Mondi di quello stesso anno. È antistante la stazione ferroviaria ed è divenuta a tutti gli effetti uno dei simboli della città di Spoleto. Alta 18 metri, l'opera viene considerata la prima scultura munumentale stabile del mondo. Di fatto, le altre famose e grandiose sculture dello stesso autore (presente con le sue opere in città come Montreal, Chicago e Città del Messico) sono tutte successive. Il fatto che la scultura poggi direttamente sull'asfalto della piazza e che funga quasi da rotatoria atipica per i veicoli in partenza o diretti alla stazione ferroviaria, non è casuale: l'autore dell'opera, da sempre attratto ed affascinato dalla dinamicità, immaginò il Teodelapio immerso ed attraversato proprio dalla caoticità del traffico cittadino; in quest'ottica, tutta la piazza e tutti i veicoli che vi transitano, partecipano alla dinamicità della scultura. Altre opere dell'autore sono conservate alla Galleria Comunale d'Arte Moderna della stessa città Umbra.


Galleria


Altri progetti

Collegamenti esterni

Note

  1. ^ Herbert Palmer Gallery - Nanette Calder
  2. ^ Hayes, Margaret Calder, Three Alexander Calders: A Family Memoir. Middlebury, VT: Paul S Eriksson, 1977.
  3. ^ Calder, Alexander and Davidson, Jean, Calder, An Autobiography with Pictures. New York: Pantheon Books, 1966, p. 13
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