.jpg?w=1)
拍品专文
This work is registered in the archives of the Calder Foundation, New York, under application number A15935.
“As far as I can see, the most important of the tangible, definable sources of the life that invests Calder’s art is an absolute harmony between technique and expression, to the point where one becomes inseparable from the other. If this is generally true of successful expression, it holds no less for Calder, and holds more directly than for most artists. The hand of the craftsman is always apparent on the surface of his work and is part of its expressive depth, whether the craftsman is Calder, whose deft twisting of wire retains the impress of his hand and wrist just as clay may retain the impress of a sculptor’s thumb…Craftsmanship is never overplayed and never undervalued” John Canaday, 1964
(John Canaday, “The Alexander Calder Problem; His Guggenheim Show is a Stunner But What Makes Him So Good?” The New York Times, section X21, 8 November 1964).
“As far as I can see, the most important of the tangible, definable sources of the life that invests Calder’s art is an absolute harmony between technique and expression, to the point where one becomes inseparable from the other. If this is generally true of successful expression, it holds no less for Calder, and holds more directly than for most artists. The hand of the craftsman is always apparent on the surface of his work and is part of its expressive depth, whether the craftsman is Calder, whose deft twisting of wire retains the impress of his hand and wrist just as clay may retain the impress of a sculptor’s thumb…Craftsmanship is never overplayed and never undervalued” John Canaday, 1964
(John Canaday, “The Alexander Calder Problem; His Guggenheim Show is a Stunner But What Makes Him So Good?” The New York Times, section X21, 8 November 1964).