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The experience made a lasting impression on Calder: he would refer to it throughout his life.
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.
James Johnson Sweeney, who had become a close friend, wrote the catalogue's preface. Part of the series "Festival du court-métrage." Société Nouvelle Pathé-Cinema, Paris. Calder has a cellar for his workshop and attends Croton Public School.
Calder also constructed sets for ballets by both Martha Graham and Eric Satie during the 1930s, and continued to give performances. Directed by Jean-Michel Meurice and Jean Pierre Marchand; produced by Eliane Victor. (Calder 1966, 28–29) December: For Christmas, Calder presents his parents with a dog and a duck that he trimmed from a brass sheet and bent into formation.
The duck is kinetic—it rocks back and forth when tapped.
Even at age eleven, his facility in handling materials was apparent.