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Despite his talents, Calder did not originally set out to become an artist.

He instead enrolled at the Stevens Institute of Technology after high school and graduated in 1919 with an engineering degree.

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.

He also took a job illustrating for the , which sent him to the Ringling Bros.

Calder committed to becoming an artist shortly thereafter, and in 1923 he moved to New York and enrolled at the Art Students League.

Their first daughter, Sandra, was born in 1935, and a second daughter, Mary, followed in 1939. Calder attends Germantown Academy for two or three months while his parents search for a house close to New York City.

He also began his association with the Pierre Matisse Gallery in New York with his first show in 1934. (Calder 1966, 28; CF, Calder 1955–56, 7) Winter: The Calders move to Croton-on-Hudson, New York.

In October of 1930, Calder visited the studio of Piet Mondrian in Paris and was deeply impressed by a wall of colored paper rectangles that Mondrian continually repositioned for compositional experiments. But my grandfather Milne’s birthday was on August 23, so there might have been a little confusion.

He recalled later in life that this experience "shocked" him toward total abstraction. Produced, directed, and written by Robert Pierce; narrated by Lary Lewman; production manager, Mark Muheim, assistant camera/sound, Zack Krieger. Thirteen/WNET and Florentine Films/Roger Sherman Pictures, New York. Produced and directed by Roger Sherman; written by Thomas Mc Namee; narrated by Tovan Feldshuh, music by Teese Gohl. Produced by Zadig Productions, Calder Foundation, Centre Pompidou, Sloo Films, and France 5. Directed by François Levy-Kuentz; written by Stephan and François Levy-Kuentz; narration by Mathieu Almaric and Paul Bandey; music by Louis Sclavis. Produced and commissioned by the Calder Foundation, New York, in collaboration with Victoria Brooks. In 1942, when I wrote the Philadelphia City Hall for a birth certificate, I sent them a dollar and they told me I was born on the twenty-second of July, 1898.

Calder committed to becoming an artist shortly thereafter, and in 1923 he moved to New York and enrolled at the Art Students League.

Their first daughter, Sandra, was born in 1935, and a second daughter, Mary, followed in 1939. Calder attends Germantown Academy for two or three months while his parents search for a house close to New York City.

He also began his association with the Pierre Matisse Gallery in New York with his first show in 1934. (Calder 1966, 28; CF, Calder 1955–56, 7) Winter: The Calders move to Croton-on-Hudson, New York.

In October of 1930, Calder visited the studio of Piet Mondrian in Paris and was deeply impressed by a wall of colored paper rectangles that Mondrian continually repositioned for compositional experiments. But my grandfather Milne’s birthday was on August 23, so there might have been a little confusion.

He recalled later in life that this experience "shocked" him toward total abstraction. Produced, directed, and written by Robert Pierce; narrated by Lary Lewman; production manager, Mark Muheim, assistant camera/sound, Zack Krieger. Thirteen/WNET and Florentine Films/Roger Sherman Pictures, New York. Produced and directed by Roger Sherman; written by Thomas Mc Namee; narrated by Tovan Feldshuh, music by Teese Gohl. Produced by Zadig Productions, Calder Foundation, Centre Pompidou, Sloo Films, and France 5. Directed by François Levy-Kuentz; written by Stephan and François Levy-Kuentz; narration by Mathieu Almaric and Paul Bandey; music by Louis Sclavis. Produced and commissioned by the Calder Foundation, New York, in collaboration with Victoria Brooks. In 1942, when I wrote the Philadelphia City Hall for a birth certificate, I sent them a dollar and they told me I was born on the twenty-second of July, 1898.

Calder's earliest attempts at large, outdoor sculptures were also constructed in this decade. The duck is kinetic, rocking back and forth when tapped.