Soleils d’or 1971

Editor: Alexander Calder's "Soleils d’or," painted in 1971 using acrylic paint, is quite striking. I'm immediately drawn to the flat planes of bold color and the playful arrangement of these circular forms. How would you interpret this work from a formalist perspective? Curator: Indeed, its impact resides primarily in the arrangement and interplay of its formal elements. Note the composition: the painting presents a calculated arrangement of circles—various sizes, rendered in a restricted palette of primary colors alongside black—on an off-white ground. Consider how the stark contrast amplifies the intensity of each color. Editor: It feels like more than just shapes. Does the seeming randomness of the lines and circles really have intent? Curator: I’d encourage you to look at these elements – lines and shapes – less for representational content and more for their relationships to each other. What kind of kinetic energy is established in the arrangement of the spheres? How does the thickness of the line alter its relationship to the plane on which it sits? Observe how the line work creates asymmetrical balances against the concentration of chromatic orbs. Note the dynamic relationship. Editor: So it's the push and pull of colors and shapes that create interest, rather than any deeper symbolic meaning? Curator: Precisely. It is in the precise orchestration of these elements that the work realizes itself. Meaning is located less in external referents and more in the artwork's internal formal grammar. Editor: I see. So, focusing on composition, contrast, and the relationships between shapes helps us understand the work without needing outside context. Thanks. Curator: My pleasure. Looking at how lines, colors, and shapes come together opens an approach to so many abstract and non-objective art pieces.