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The experience made a lasting impression on Calder: he would refer to it throughout his life.Calder committed to becoming an artist shortly thereafter, and in 1923 he moved to New York and enrolled at the Art Students League.In the fall of 1931, a significant turning point in Calder's artistic career occurred when he created his first truly kinetic sculpture and gave form to an entirely new type of art. At that time, on Euclid Avenue in Pasadena, I got my first tools and was given the cellar with its window as a workshop. My workshop became some sort of a center of attention; everybody came in.The first of these objects moved by systems of cranks and motors, and were dubbed "mobiles" by Marcel Duchamp—in French mobile refers to both "motion" and "motive." Calder soon abandoned the mechanical aspects of these works when he realized he could fashion mobiles that would undulate on their own with the air's currents. Portfolio of lithographs by Calder, Chillida, Guinovart, Miró, Ràfols-Casamada, Tàpies, Vedova, Viladecans. Mother and father were all for my efforts to build things myself—they approved of the homemade . (Calder 1966, 21) 1 January: Calder attends Pasadena's Tournament of Roses, where he experiences the four-horse chariot races.Arp, in order to differentiate Calder's non-kinetic works from his kinetic works, named Calder's stationary objects "stabiles." In 1933, Calder and Louisa left France and returned to the United States, where they purchased an old farmhouse in Roxbury, Connecticut. Barcelona: Fundació Joan Miró–Centre d'Estudis d'Art Contemporani, 1975. Museum at Large and the Whitney Museum of American Art, New York. Directed and produced by Paul Falkenberg and Hans Namuth; narration by Louisa Calder, Tom Armstrong, and John Russell. (Calder 1966, 22) Spring: The Calders move to a new house on 555 Linda Vista Avenue.Calder converted an icehouse attached to the main house into a studio. Calder's workshop consists of a tent with a wooden floor. (CF, Nanette to Trask, 30 March; Calder 1966, 26–27) Fall: The Calders return to Philadelphia.
He soon began to sculpt from this material many portraits of his friends and public figures of the day.
Every piece was small enough to be packed into a large trunk, enabling the artist to carry it with him and hold performances anywhere.
Its first performance was held in Paris for an audience of friends and peers, and soon Calder was presenting the circus in both Paris and New York to much success.
Despite his talents, Calder did not originally set out to become an artist.
He instead enrolled at the Stevens Institute of Technology after high school and graduated in 1919 with an engineering degree.
In October of 1930, Calder visited the studio of Piet Mondrian in Paris and was deeply impressed by a wall of colored paper rectangles that Mondrian continually repositioned for compositional experiments. But my grandfather Milne’s birthday was on August 23, so there might have been a little confusion.