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Alexander Calder
Femme Arabe, 1975

1975

$69,500
£52,258.41
€60,684.68
CA$97,055.29
A$107,641.50
CHF 56,528.04
MX$1,321,914.19
NOK 715,591.31
SEK 674,812.19
DKK 452,774.43
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About the Item

In 1963, Calder settled into a new workshop, overlooking the valley of the Lower Chevrière to Saché in Indre-et-Loire (France). It wasn’t long before tapestry became a new way for Alexander Calder to represent this balance that was both strange and perfect – as the art of tapestry was going through a rebirth since Jean Lurçat revived the Aubusson workshops and brought tapestry up to date. Working with textiles wasn’t new for Calder. “He made his own neckties,” reveals the artist’s grandson, Alexander S. C. Rower. “He also drew designs directly on canvas that my grandmother then hooked into rugs by hand.” These tapestries are endowed with the very graphic style representative of the artist, with abstract forms, often poetic and boldly colored. Tapestry is a way to interpret your art and transcribe your gouaches on wider formats – and a more complex medium to work with. There are abstract patterns of primary colors, usual for the artist, as well as a white background that frees up a wide empty page. Produced first by Picaud and later by Pinton Frères, the majority of the tapestries were made with Australian wool dyed to Calder’s specifications; each square yard of tapestry took a month to produce. These tapestries are endowed with the very graphic style representative of the artist, with abstract forms, often poetic and boldly colored. Their appearance turned connoisseurs’ heads, and tapestries soon hung in Calder retrospectives at the Guggenheim in 1964 and Paris’s Musée National d’Art Moderne in 1965 and were the subject of an exhibition at the Whitney in 1971.

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