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Word traveled about the inventive artist, and in 1928 Calder was given his first solo gallery show at the Weyhe Gallery in New York.This exhibition was soon followed by others in New York, Paris, and Berlin; as a result, Calder spent much time crossing the ocean by boat.
He instead enrolled at the Stevens Institute of Technology after high school and graduated in 1919 with an engineering degree.Calder's earliest attempts at large, outdoor sculptures were also constructed in this decade. The duck is kinetic, rocking back and forth when tapped.These predecessors of his later imposing public works were much smaller and more delicate; the first attempts made for his garden were easily bent in strong winds. Corder; produced and written by David Idema; cinematography by Werner Schneider; narrated by Tom Saizan; edited by Bill Prins. (Sweeney 1943, 57; Hayes 1977, 41) Before 11 January: For his father's birthday, Calder makes , a game consisting of five painted animals—a tiger, a lion, and three bears—and a wooden board with nails divided into six pens.Arp, in order to differentiate Calder's non-kinetic works from his kinetic works, named Calder's stationary objects "stabiles." In 1933, Calder and Louisa left France and returned to the United States, where they purchased an old farmhouse in Roxbury, Connecticut. Barcelona: Fundació Joan Miró–Centre d'Estudis d'Art Contemporani, 1975. Museum at Large and the Whitney Museum of American Art, New York. Directed and produced by Paul Falkenberg and Hans Namuth; narration by Louisa Calder, Tom Armstrong, and John Russell. (Calder 1966, 22) Spring: The Calders move to a new house on 555 Linda Vista Avenue.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.
In the fall of 1931, a significant turning point in Calder's artistic career occurred when he created his first truly kinetic sculpture and gave form to an entirely new type of art. At that time, on Euclid Avenue in Pasadena, I got my first tools and was given the cellar with its window as a workshop. My workshop became some sort of a center of attention; everybody came in.