Amazon.com
The early work of any artist is often startling, and Alexander Calder's is particularly so. We think of Calder's sculpture as the epitome of crisp, Modernist forms--sometimes moving gently, as the mobiles and stabiles do. And we think of his paintings as filled with abstracted, biomorphic shapes. But the 1998 Calder retrospective showed that this American in Paris between the world wars began as a specialist in smoky nocturnes. This book, the catalog of that exhibition, carries Calder past all that, to 1930, when he was "shocked" into complete abstraction, as he said, by a visit to the studio of Piet Mondrian. The rest of the book details the development of an oeuvre, including bent-wire toys, carnival figures, and circus acrobats, that made Calder among the best-loved of 20th-century artists. It contains pictures of Calder and his beautiful wife Luisa, at home and in the studio in Connecticut and France, and 267 full-color plates of Calder's drawings, sculptures, and paintings. The chronology is interspersed with the chapter essays, which can be somewhat confusing, at first, for readers who like to jump to the back of the book looking for the time line. It is well worth it to slow down for Marla Prather's readable, instructive text, which is filled with quotes from Calder and his contemporaries, and for Alexander S.C. Rower's remarkable chronology, which includes even the Calders' 1972 New York Times advertisement calling for the impeachment of Richard M. Nixon. With great economy, Rower covers every event of importance, in Calder's art and in his life. --Peggy Moorman
The Atlantic Monthly, Phoebe-Lou Adams
The text follows Calder's career and discusses his materials and methods, which is sensible because the artist himself said all anyone needs to know about the meaning of his airily enchanting sculptures: "I want to make things that are fun to look at, that have no propaganda value whatsoever." The pieces photographed in this volume are splendid fun to look at. Any propaganda value lies in the eye of the beholder.
