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.Despite his talents, Calder did not originally set out to become an artist.
He also became friendly with many prominent artists and intellectuals of the early twentieth century at this time, including Joan Miró, Fernand Léger, James Johnson Sweeney, and Marcel Duchamp. I always thought I was born—at least my mother always told me so—on August 22, 1898.
The circus became a lifelong interest of Calder's, and after moving to Paris in 1926, he created his , a complex and unique body of art.
The assemblage included diminutive performers, animals, and props he had observed at the Ringling Bros. Fashioned from wire, leather, cloth, and other found materials, was designed to be manipulated manually by Calder.
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.
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.