sheet metal and wire, painted
38,1 x 111,7 x 111,7 cm / 15 x 44 x 44 in.
signed with monogram and dated on the largest red element
Calder had invented mobiles as an artistic form in the 1930s. It became the unmistakable hallmark of his art. He undoubtedly came into contact with the theories on time and space and the fourth dimension. He later expressed the comparison to his mobiles: “I think that at that time and practically ever since, the underlying sense of form in my work has been the system of the Universe, or part thereof. What I mean is that the idea of detached bodies floating in space, of different sizes and densities, perhaps of different colors and temperatures, and surrounded and interlarded with wisps of gaseous condition, and some at rest, while others move in peculiar manners, seems to me the ideal source of form.” Calder also sees movement as a compositional task: “Just as one can compose colours, or forms, so one can compose motions.” In his 1966 mobile, Calder used closed plane figures of varying sizes which he himself called polygons. The largest red element balances out the remaining seven elements, which in turn keep each other in balance. In contrast to the works with several branches, the mobile from 1966 is, to a certain extent, one-directional and very homogeneous, the quintessence of the concept of mobiles. Perhaps Calder’s mobile can best be described in Sartre’s words: Un mobile: une petite fête locale – a mobile by Calder is a little local festival. Provenance available
Price on request