{"id":615190,"date":"2026-04-18T14:17:11","date_gmt":"2026-04-18T14:17:11","guid":{"rendered":"https:\/\/www.newsbeep.com\/au\/615190\/"},"modified":"2026-04-18T14:17:11","modified_gmt":"2026-04-18T14:17:11","slug":"alexander-calders-work-goes-up-at-the-fondation-louis-vuitton-in-paris","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/au\/615190\/","title":{"rendered":"Alexander Calder\u2019s Work Goes Up at the Fondation Louis Vuitton in Paris"},"content":{"rendered":"

The 71-year-old Alexander Calder was standing just outside Perls Galleries on upper Madison Avenue, looking at the terrazzo sidewalk he\u2019d designed\u2014a euphoric interaction of curves and grids. The occasion was a soign\u00e9 charity benefit celebrating the installation, that rare instance when the public and private sectors have worked together to add pulse and joy to city life. The women in the gallery were society types who resembled the early wire sculpture that Calder called \u201cThe Debutante\u2019s Mother,\u201d while the men were mainly bankers in pinstripe suits. The artist, meanwhile, wore a red-plaid flannel shirt and workman\u2019s trousers.<\/p>\n

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Calder, photographed by Sasha Stone while working on Calder\u2019s Circus, 1929. <\/p>\n

Unlike the sophisticates in the room, I was a college kid. He looked me straight in the eye and asked what I cared about in life. His curiosity was genuine, and his kindness and warmth had the feeling of the mobiles suspended from the gallery ceiling. Calder\u2019s handshake was that of a stevedore, which is to say the man had the grip of a sculptor who could work metal and wood with power and dexterity. With his large head and shock of white hair, he had the magnetic force of his art.<\/p>\n

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