亚历山大·考尔德(Alexander Calder)高清作品《无题》

作品名：无题

艺术家：亚历山大·考尔德

年代：1935

风格：机动艺术

类型：雕塑

收藏：所罗门古根海姆博物馆，纽约市，纽约，美国

《无题》（1935）是卡尔德20世纪30年代早期生产的以地板和基座为基础的移动电话的代表。在这里，卡尔德使用木材，一种自从上世纪十年以来就没在工作中使用的材料，再加上电线和绳子。五个不同大小的彩绘木球体以平衡和有机运动的空间排列组织起来。考尔德后来把这些作品称为“宇宙”。对于20世纪30年代的大部分时间以及像第一次世界大战后从事抽象艺术的其他艺术家一样，考尔德使用宇宙的描述和科学术语：“我觉得没有更好的模型适合我。”…不同大小、密度、颜色和体积的球体，漂浮在太空中，穿越云层。…空气、粘度和气味流——变化和差异最大。1想象中的太阳系，这幅画是卡尔德大型独立悬挂式移动车的先例，其中锚定在天花板上的更细、更隐蔽的电线将取代Untitled在地面上的木制底座。L型支撑，限制移动。

Title:Untitled

artist:Alexander Calder

Date:1935

Style:Kinetic Art

Genre:sculpture

Location:Solomon R. Guggenheim Museum, New York City, NY, US

Untitled (1935) is representative of Calders floor- and pedestal-based mobiles made in the early 1930s. Here, Calder uses wood, a material that had been absent from his work since the previous decade, in combination with wire and string. Five painted wood orbs, varying in size, are organized in a spatial arrangement of counterbalance and organic movement. Calder later referred to these works as Universes. For much of the 1930s and like other artists engaged with abstraction after World War I, Calder used cosmic descriptions and scientific terminology: I felt that there was no better model for me. . . . Spheres of different sizes, densities, colors, and volumes, floating in space, traversing clouds . . . currents of air, viscosities and odors—of the greatest variety and disparity.1 An imagined solar system, the work is an antecedent of Calders large, independently hanging mobiles, in which finer, less visible wires anchored to the ceiling would replace Untitleds earthbound wooden base, inverted L-shaped support, and restricted movement.