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THE BIG I, 1944

Etching
7 × 8 7/8 in
17.8 × 22.5 cm
Edition 24/30
Bidding closed
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About the work
D
Doyle

On cream Rives paper, signed, titled and numbered 24/30 in pencil, printed by Atelier 17, New York, …

Read more

On cream Rives paper, signed, titled and numbered 24/30 in pencil, printed by Atelier 17, New York, published by Wittenborn & Co., New York, with full margins, unframed.

Sheet11 1/2 x 15 3/4 inches; 292 x 400 mm.

Alexander Calder
American, 1898–1976
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American artist Alexander Calder changed the course of modern art by developing an innovative method of sculpting, bending, and twisting wire to create three-dimensional “drawings in space.” Resonating with the Futurists and Constructivists, as well as the language of early nonobjective painting, Calder’s mobiles (a term coined by Marcel Duchamp in 1931 to describe his work) consist of abstract shapes made of industrial materials––often poetic and gracefully formed and at times boldly colored––that hang in an uncanny, perfect balance. His complex assemblage Cirque Calder (1926–31), which allowed for the artist’s manipulation of its various characters presented before an audience, predated Performance Art by some 40 years. Later in his career, Calder devoted himself to making outdoor monumental sculptures in bolted sheet steel that continue to grace public plazas in cities throughout the world.

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About the work
D
Doyle

On cream Rives paper, signed, titled and numbered 24/30 in pencil, printed by Atelier 17, New York, …

Read more

On cream Rives paper, signed, titled and numbered 24/30 in pencil, printed by Atelier 17, New York, published by Wittenborn & Co., New York, with full margins, unframed.

Sheet11 1/2 x 15 3/4 inches; 292 x 400 mm.

Alexander Calder
American, 1898–1976
Follow

American artist Alexander Calder changed the course of modern art by developing an innovative method of sculpting, bending, and twisting wire to create three-dimensional “drawings in space.” Resonating with the Futurists and Constructivists, as well as the language of early nonobjective painting, Calder’s mobiles (a term coined by Marcel Duchamp in 1931 to describe his work) consist of abstract shapes made of industrial materials––often poetic and gracefully formed and at times boldly colored––that hang in an uncanny, perfect balance. His complex assemblage Cirque Calder (1926–31), which allowed for the artist’s manipulation of its various characters presented before an audience, predated Performance Art by some 40 years. Later in his career, Calder devoted himself to making outdoor monumental sculptures in bolted sheet steel that continue to grace public plazas in cities throughout the world.

THE BIG I, 1944

Etching
7 × 8 7/8 in
17.8 × 22.5 cm
Edition 24/30
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
Other works by Alexander Calder
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