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Alexander "Sandy" Calder (/ ˈ k ɔː l d ər /; July 22, 1898 – November 11, 1976) was an American sculptor known both for his innovative mobiles (kinetic sculptures powered by motors or air currents) that embrace chance in their aesthetic, his static "stabiles", and his monumental public sculptures. [1]
Swann Memorial Fountain (1920–1924), Philadelphia, Pennsylvania. In 1892, he returned to Philadelphia and began his career as a sculptor in earnest. His first major commission, won in a national competition, was for a larger-than-life-size statue of Dr. Samuel Gross (1895–97) for the National Mall in Washington, D.C. Calder replicated the pose of Dr. Gross from Eakins's 1875 painting The ...
Alexander Calder, Red Mobile, 1956, Painted sheet metal and metal rods, a signature work by Calder – Montreal Museum of Fine Arts. A mobile (UK: / ˈ m oʊ b aɪ l /, [1] US: / ˈ m oʊ b iː l /) [2] is a type of kinetic sculpture constructed to take advantage of the principle of equilibrium. It consists of a number of rods, from which ...
Alexander Milne Calder (August 23, 1846 – June 4, 1923) (MILL-nee) was a Scottish American sculptor best known for the architectural sculpture of Philadelphia City Hall. [1] Both his son, Alexander Stirling Calder , and grandson, Alexander Calder , became significant sculptors in the 20th century.
Homage to Jerusalem plaque. When Alexander Calder visited Israel in 1975 with his wife, the Mayor of Jerusalem Teddy Kollek asked him to create a sculpture for Jerusalem. The chosen site for the sculpture was the northeastern slope of Mount Herzl. [1]
Father Issa Thaljieh, a 40-year-old Greek Orthodox parish priest at the Church of the Nativity in Bethlehem, kneels at the spot where tradition says Jesus was born.
After this, Calder created complete pieces only using wire and in 1927 had a show of wire sculptures at the Weyhe Gallery in New York City. In 1930, he had a solo show of wire sculptures in Paris, at Galerie Billiet. Calder’s wire sculptures of this period tended to be portraits, caricatures, and stylized representations of people and animals.
As Eleanor Scerri, an evolutionary archaeologist not involved in the study, tells the New York Times, “There is no single birthplace. It really puts a nail in the coffin of that idea.” It ...