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Born into an intellectual family, Louisa was brought up in proper Boston society by an English nurse and a French governess. Her parents were outwardly conformist (he a James and she a Cushing), though her father was a Quixotic fighter for social justice. In 1930, Louisa wrote to her mother:
Jan 8, 2018 · Calder had married Louisa James a year earlier, and Perl argues that her family’s wealth may have granted the artist the financial freedom to create more experimental work. A few short months after Croisière, he ventured even further—adding manually propelled and motorized elements to similar abstract sculptures.
Calder was becoming an abstract artist. But first he had to go back to America and marry Louisa James. Calder arrived back in New York just three days before Christmas, 1930.
Soon after moving to Paris in 1926, Calder created his Cirque Calder. Made of wire and a spectrum of found materials, the Cirque was a work of performance art that gained Calder an introduction to the Parisian avant-garde.
Alexander Calder once recalled an incident that occurred between him and his wife Louisa shortly after they married. The two were living in Paris and had decided to hire a live-in cook. Louisa set out to furnish a spare bedroom for the new employee, with items including a broc and washbasin.
Calder loved the word’s double meaning in French, not only “movable” but “motive.” Calder got married, to Louisa James, and moved back to the United States in 1933. They bought an 18th-century house in Roxbury, Connecticut, where he raised his family.
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I don’t think that anybody can fail to be moved by the story of how Calder met and fell in love with Louisa James, on a boat returning from France to the United States. A biographer has to tailor his approach to the artist he’s writing about.
