This painting went through a lot of mutations as I kept adding new schemes for the background. Over time it started to looks like pigeons in space! I finally trough on a bunch of brown to start over and was surprised to see how well it unified the piece.
This is another one of my series of 100 pigeon paintings. In this one I broke up the forms of the pigeons to work more fluidly with the abstract background and used some blue and green pearlescent inks in response to the way the pigeons feathers shine. "Pigeons on Brown"
Casein paint and ink on paper
12" x 9"
This is an original painting on paper with matt and protective plastic sleeve.
1898 Lawnton – New York 1976
Born at the very end of the 19th century into a family of #Americanartists , #AlexanderCalder did not initially choose an artistic path, obtaining a degree in #mechanical engineering from the #StevensInstituteofTechnology in 1919. However, after working
for several years in the field, he decided to pursue a career as an artist and enrolled at the Art Students League in New York. In 1926, he set off for #Paris where he would create one of his most emblematic works, #LeCirque , which was strongly influenced by his
experiences as a sketcher documenting the celebrated Ringling Bros. and Barnum &
Bailey Circus. It was at this point that he began working with #iron wire, a medium that
he continued to use throughout his entire career. In Paris, he came into contact with many other artists including #Duchamp , #Miró , #Mondrian and #Arp , who influenced his work both directly and indirectly. It was after a meeting with Mondrian that he ventured
into #abstraction and began to create his first #mobiles , which were initially motorised, in
the early 1930s. Starting from this period as well he narrowed his palette to the three
#primarycolours and black and white. The term #mobile was coined by Duchamp, while the sculptures which were for the most part monumental and constructed of sheets of metal, were dubbed #stabiles , according to a description by Arp. Bit by bit, Calder began to focus on creating mobiles which would be set in motion by air
currents alone. They can be divided into three types: those that are attached to a stable base, those mounted on the wall, and those suspended from the ceiling. During the 1940s, the mobiles gradually assumed their iconic form: flat elements of painted metal,
generally triangles with rounded corners, attached to iron wires connected by loops, so that the delicate equilibrium of the entire structure could be shifted by the slightest breath of air. The ever-present movement in his work reflects the shifting world around
us and Nature. In this way, Calder's approach utterly contradicts traditional sculpture, which is by definition immobile.