- 110
Alexander Calder
Description
- Alexander Calder
- Red Eyed Dragon
- painted metal and wire
- 20 by 26 by 4 in. 50.8 by 66 by 10.2 cm.
- Executed in 1950, this work is registered in the archives of the Calder Foundation, New York, under application number A26881.
Provenance
B.H. and Abby Friedman, New York (acquired from the above circa 1950)
Gift to the present owner from the above in 1957
Exhibited
Condition
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Catalogue Note
With Red Eyed Dragon, Alexander Calder gracefully balances variously-sized red discs cascading asymmetrically with a standing base by means of a long, horizontal cantilever, encapsulating the qualities that exemplify the artist’s best work. This delicately scaled standing mobile displays his interest in form, movement and color and their relationship to each other. Here, the series of delicate red disks that sweep around in an elegant arrangement of forms are offset by the solid and angular base with a round opening. Combining two of his most celebrated and sought-after forms–his graceful mobiles and more substantial stabiles–this work demonstrates Calder’s fascination with breaking down the traditional boundaries associated with sculpture. With its carefully constructed juxtaposition between the solidity of the base and the dynamism of the floating strands of wire and circles, the overall effect of Red Eyed Dragon is one of extraordinary grace and beauty.
The structurally perplexing arrangement of this work recalls Calder's early training as an engineer before turning exclusively to art in the early 1920s. The artist has arranged a series of red discs, tumbling through space gradually decreasing in size from large to small–with the counterbalance of one exceptionally large red disc offset on the opposite side. These shapes serve not just an aesthetic function–they are also designed to have a dynamic function too, as when touched by the slightest breeze of wind, they allow the sculpture to spring into life as the delicate arms begin to sweep around the central axis–a quality that is rare in the sculptural form. With simple shapes and streamlined construction, Calder creates multiple movements that convey both a sense of solidity and permanence through its earthly anchorage, as well as dynamism and movement through the delicately floating wire elements and carefully suspended circular forms.
Created during a period of renewed artistic liberation and discovery in the decade following the end of the Second World War, Red Eyed Dragon is a superb example of Calder’s standing mobiles, and features intriguing provenance. B.H. Friedman, Jackson Pollock’s first biographer and close friend, gave this work as a wedding gift to Judith and Kalman Noselson in 1957. Friedman was actually married to Kalman Noselson’s sister, Abby. The Noselsons were greatly involved in the arts and served on the board of various New York institutions; they also amassed a substantial collection of American artists including Franz Kline, Robert Rauschenberg, and Willem de Kooning.
This sculpture’s playful title is characteristic of Calder's work, which is often infused with an element of imagination and whimsy. Having already experimented with animal forms in Cirque Calder, his small-scale performance piece whose cast of characters are sculpted from wood, wire and cloth, Calder brought a more abstract sensibility to the mobile. The opening in the center of the work’s black base, as well as the larger red disc could both refer to this fantastical creature’s “eye.” Thus, his title is especially important to spark–but not limit–the viewer's imagination. The obvious biomorphic nature of the form in this piece demonstrates a clear lineage of Surrealist abstraction with Miró as its most important practitioner. Miró and Calder were friends of the highest order and effused prolifically about one another's work. Red Eyed Dragon is additionally an excellent example of the influence of Calder's exposure to myriad cultures from his extensive traveling on his work. From Caracas to Delhi, Calder keenly embraced the cultures and mythologies of the places he visited with. The reference to the dragon is certainly an effect of the influence his interest in Asian cultures, specifically, China and Japan.
Calder's revolutionary ideas about sculpture were the result of an aesthetic epiphany during a 1930 visit to Mondrian’s studio where he was inspired to discover a three-dimensional art form that would embody the reductive palette and spatial inventiveness of the great artist’s paintings and bring these modernist elements into the viewer’s experience and space. Calder famously declared: "Why must sculpture be static? You look at abstraction, sculptured or painted, an entirely exciting arrangement of planes, nuclei, entirely without meaning. It would be perfect but it is always still. The next step is sculpture in motion" (Marla Prather, Alexander Calder 1898-1976, Washington, 1998, p. 57). With its enticing mixture of hard and soft lines, bold use of color and unparalleled kinetic qualities, Red Eyed Dragon becomes the enticing embodiment of Calder's influential artistic practice, pushing the limits of his chosen medium.
Balanced by the dynamic juxtaposition of delicately suspended mobile parts and the beautifully elongated black base, the present work is a sophisticated testament to Calder’s technical skill, imaginative genius and talent for organic composition. At once solid and sinuous, the black form that grounds Red Eyed Dragon perfectly supports the arrangement of hovering disks poised delicately above it. Evolving out of the thin wire that supports them, the nine red discs of varying sizes, superbly countered by the larger red weight, oscillate up and down. Red Eyed Dragon is a stunning example of Calder's unique brand of artistic expression that possess a clarity of form and execution, showing him at the height of his aesthetic and creative powers. This hybrid form captures both the stationary elegance of the stabiles with the playful choreography and movement of the mobiles–the perfect duality of intangible balance and continual movement.