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Calder converted an icehouse attached to the main house into a studio. Calder's workshop consists of a tent with a wooden floor. (CF, Nanette to Trask, 30 March; Calder 1966, 26–27) Fall: The Calders return to Philadelphia.
Their first daughter, Sandra, was born in 1935, and a second daughter, Mary, followed in 1939. Calder attends Germantown Academy for two or three months while his parents search for a house close to New York City.
He recalled later in life that this experience "shocked" him toward total abstraction. Produced, directed, and written by Robert Pierce; narrated by Lary Lewman; production manager, Mark Muheim, assistant camera/sound, Zack Krieger. Thirteen/WNET and Florentine Films/Roger Sherman Pictures, New York. Produced and directed by Roger Sherman; written by Thomas Mc Namee; narrated by Tovan Feldshuh, music by Teese Gohl. Produced by Zadig Productions, Calder Foundation, Centre Pompidou, Sloo Films, and France 5. Directed by François Levy-Kuentz; written by Stephan and François Levy-Kuentz; narration by Mathieu Almaric and Paul Bandey; music by Louis Sclavis. Produced and commissioned by the Calder Foundation, New York, in collaboration with Victoria Brooks. In 1942, when I wrote the Philadelphia City Hall for a birth certificate, I sent them a dollar and they told me I was born on the twenty-second of July, 1898.
For three weeks following this visit, he created solely abstract paintings, only to discover that he did indeed prefer sculpture to painting. So I sent them another dollar and told them, “Look again.” They corroborated the first statement., in Philadelphia. (Calder 1966, 13) Spring: Stirling Calder contracts tuberculosis. (Calder 1966, 15; Hayes 1977, 18) End of March: Nanette picks up Calder and Peggy and they rejoin their father in Oracle.
He soon began to sculpt from this material many portraits of his friends and public figures of the day.
Word traveled about the inventive artist, and in 1928 Calder was given his first solo gallery show at the Weyhe Gallery in New York.
The experience made a lasting impression on Calder: he would refer to it throughout his life.
Indeed, the predated performance art by forty years.
Calder found he enjoyed working with wire for his circus.
and Barnum & Bailey Circus to sketch circus scenes for two weeks in 1925.
The circus became a lifelong interest of Calder's, and after moving to Paris in 1926, he created his , a complex and unique body of art.
The first of these objects moved by systems of cranks and motors, and were dubbed "mobiles" by Marcel Duchamp—in French mobile refers to both "motion" and "motive." Calder soon abandoned the mechanical aspects of these works when he realized he could fashion mobiles that would undulate on their own with the air's currents. Portfolio of lithographs by Calder, Chillida, Guinovart, Miró, Ràfols-Casamada, Tàpies, Vedova, Viladecans. Mother and father were all for my efforts to build things myself—they approved of the homemade . (Calder 1966, 21) 1 January: Calder attends Pasadena's Tournament of Roses, where he experiences the four-horse chariot races.