The mobiles started when I went to see Mondrian. I was impressed by several coloured rectangles he had on the wall. Shortly after that I made some mobiles; Mondrian claimed his paintings were faster than my mobiles.

Interview with Katharine Kuh, The Artist’s Voice 1962

Calder's Studio, Herbert Matter, 1936

Herbert Matter
Frame for Snake and the Cross (1936) in an earlier configuration, New York City storefront studio, 1936

Photo credit: Calder Foundation, NY / Art Resource, NY

© 2015 Calder Foundation, New York / DACS, London

When an artist explains what he is doing he usually has to do one of two things: either scrap what he has explained, or make his subsequent work fit in with the explanation.

Calder, Mobiles, The Painter’s Object, edited by Myfanwy Evans (London: Gerold Howe, 1937). 

Black and white photograph of Alexander Calder standing in his studio with one of his mobiles hanging above it

Alexander Calder in his Roxbury studio, 1941
Photo credit: Calder Foundation, New York / Art Resource, NY
© 2015 Calder Foundation, New York / DACS, London

My fingers always seem busier than my mind.

Calder,The Evolution manuscript, Calder Foundation archives, 1955–56. 

Calder's Studio, Herbert Matter, Roxbury, 1947

Herbert Matter
Standing mobile with tools, Roxbury studio, 1947

Photo credit: Calder Foundation, NY / Art Resource, NY

© 2015 Calder Foundation, New York / DACS, London

Just as one can compose colours, or forms, so one can compose motions.

 Calder, Modern Painting and Sculpture, exh. cat. (Pittsfield, Mass.: Berkshire Museum, 1933). 

Calder's Studio, Herb Weitman, 1964

Herb Weitman
Alexander Calder in his studio in Roxbury, CT, 1964

Photo credit: Calder Foundation, NY / Art Resource, NY

© 2015 Calder Foundation, New York / DACS, London

Each element able to move, to stir, to oscillate, to come and go in its relationships with the other elements in its universe. 

Calder, ‘Comment réaliser l’art?’ Abstraction-Création, Art Non Figuratif, no. 1 (1932).

Calder's Studio, Herbert Matter, Roxbury, 1950

Herbert Matter
Calder's storage shelves, Roxbury studio, 1950

Photo credit: Calder Foundation, NY / Art Resource, NY

© 2015 Calder Foundation, New York / DACS, London

My whole theory about art is the disparity that exists between form, masses and movement.

 Calder, Interview with Katharine Kuh, The Artist’s Voice 1962

Alexander Calder with Circus in his studio

Alexander Calder in his studio with Circus 1929
Calder Foundation, New York, NY, Art Resource, NY

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