Myrtle Burl 1941 by Alexander Calder
Myrtle Burl (1941)
Alexander Calder’s Organic Abstraction: The Story Behind Myrtle Burl
In 1941, as Europe grappled with the turmoil of war, Alexander Calder retreated into the quietude of his Connecticut studio, where he produced Myrtle Burl—a gouache on paper that distills nature’s irregular beauty into a language of floating forms. The title itself hints at the work’s origins: “myrtle” evokes the evergreen shrub, while “burl” refers to the knotted, gnarled growths on trees, where wood grain twists into unpredictable patterns. Calder, already renowned for his mobiles, here translated his fascination with kinetic balance into a static yet dynamic composition. The interplay of curved, organic shapes—some solid, others outlined—creates a visual rhythm that seems to pulse with latent movement.
This period marked a shift in Calder’s practice. Having spent the late 1930s experimenting with wire sculptures and suspended abstractions, he turned increasingly to two-dimensional works on paper. Myrtle Burl exemplifies his ability to reconcile the flatness of the page with the illusion of depth, using overlapping planes and a restrained palette of earthy ochres, muted greens, and inky blacks. The work’s scale—intimate yet commanding—invites close inspection, revealing the delicate precision of his brushwork. As the Museum of Modern Art has noted, Calder’s wartime pieces often carried an undercurrent of resilience, their organic forms standing in quiet defiance of the era’s mechanized destruction.
Calder in 1941: Between Mobiles and the Monochrome
By 1941, Alexander Calder had already redefined modern sculpture with his invention of the mobile—a term coined by Marcel Duchamp to describe Calder’s suspended, wind-activated works. Yet Myrtle Burl belongs to a lesser-known chapter of his career: the years when he returned to painting and works on paper with renewed vigor. This phase was partly practical—materials for large-scale metalworks were scarce during the war—but it also reflected a deeper exploration of form unburdened by gravity. The gouaches from this period, including Myrtle Burl, reveal Calder’s debt to Joan Miró’s biomorphic surrealism, yet they are unmistakably his own. Where Miró’s creatures often feel like fragments of a dream, Calder’s shapes suggest a more tangible, almost architectural presence.
The work’s title offers a clue to its duality. “Myrtle” ties it to the natural world, while “burl” implies a disruption—a knot in the wood, a deviation from the expected. This tension between harmony and irregularity defines the composition. Calder’s use of negative space, particularly in the upper right quadrant, creates a sense of breathing room, as if the forms might drift apart at any moment. The Tate has observed that Calder’s wartime works often employed a “controlled chaos,” a phrase that aptly describes Myrtle Burl’s delicate equilibrium. Here, the absence of primary colors (a hallmark of his later stabiles) allows the viewer to focus on the interplay of shape and texture, where every edge feels deliberately softened, as if eroded by time.
Myrtle Burl is Calder at his most lyrical—not despite its stillness, but because of it. The work captures the paradox of his genius: a master of motion who could distill energy into a single, suspended moment.
The Making of Myrtle Burl: Gouache as a Medium of Precision
Composition: The Illusion of Weightlessness
Calder’s arrangement of forms in Myrtle Burl defies conventional hierarchy. The largest shape—a rounded, leaf-like form in ochre—anchors the lower left, yet its dominance is undercut by the scattering of smaller elements that seem to orbit it. This dispersal creates a sense of depth without relying on perspective, a technique Calder honed in his mobiles. The overlapping edges of the shapes suggest transparency, as if the forms are layered sheets of colored glass. Notably, the black outline of the central “burl” shape interrupts the composition’s flow, acting as a visual fulcrum that holds the eye.
Color: A Subdued Palette with Hidden Contrast
The work’s muted tones—olive greens, warm browns, and slate grays—belie its sophisticated use of contrast. Calder juxtaposes matte and slightly glossy gouache, creating subtle variations in texture that catch the light differently. The inky black of the burl form, applied with a dry brush, provides the starkest counterpoint, its rough edges absorbing rather than reflecting light. This interplay ensures that the composition remains dynamic even in monochrome reproduction, a quality that makes Myrtle Burl particularly effective as a framed print. The absence of bright hues forces the viewer to engage with the nuances of form and surface.
Own This Icon of Mid-Century Abstraction
Bring Calder’s organic modernism into your space. This 30×40 cm framed print captures the original gouache’s texture and depth, with archival inks and a gallery-quality frame. Free worldwide shipping ensures it arrives ready to hang.
Add to Cart — $24999Where to Hang Myrtle Burl: A Curator’s Guide
The understated elegance of Myrtle Burl makes it remarkably versatile, but its earthy palette and organic forms shine in specific settings. In a modernist interior, position it above a low, linear credenza—think teak or walnut—to echo the horizontal flow of the composition. The print’s 30×40 cm dimensions suit a medium-scale wall, where it can anchor a seating area without overwhelming the space. For a more unexpected pairing, hang it in a room with deep green or terracotta walls; the muted tones of the gouache will resonate with the backdrop while the black outlines pop dramatically.
Avoid overly busy surroundings. Myrtle Burl thrives in environments where its textures can be appreciated up close—consider a reading nook or a minimalist entryway. If grouping with other artworks, pair it with pieces that share its organic abstraction, such as a small Henry Moore lithograph or a Joan Miró drawing. The frame’s natural wood finish (included) complements both warm and cool color schemes, making it adaptable to everything from Scandinavian interiors to brutalist-inspired spaces.
What frame is included, and how is it constructed?
The print arrives in a gallery-quality frame made from sustainably sourced hardwood, with a matte finish that complements the artwork’s organic tones. The frame includes UV-protective acrylic glazing to prevent fading and is assembled with acid-free matting to ensure long-term preservation.
Where do you ship, and how long does delivery take?
We offer free shipping worldwide, with no minimum order. Delivery typically takes 5–10 business days, depending on your location. All prints are carefully packaged in our US warehouse and shipped via tracked courier.
How archival is the print? Will the colors fade over time?
The print is produced using pigment-based inks on pH-neutral, 300gsm cotton rag paper—standards that ensure resistance to fading for 75+ years under normal lighting conditions. The UV-protective glazing in the frame provides an additional layer of defense against light damage.
What is your return policy?
We offer a 30-day return window. If you’re not completely satisfied, you may return the print in its original condition for a full refund. No restocking fees apply, and we provide a prepaid return label for your convenience.
Sources & Further Reading
- The Museum of Modern Art. "Alexander Calder." MoMA, New York.
- Tate. "Calder’s Wartime Works: Balance in Turbulent Times." Tate, London.
- Smithsonian American Art Museum. "Alexander Calder: Sculpting in Two Dimensions." Smithsonian Institution, Washington, D.C.
More Works by Alexander Calder
Discover Calder’s evolving language of form, from his early wire sculptures to his late-career abstractions.
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Ready to Bring Calder’s Vision Home?
Myrtle Burl arrives framed and ready to hang, with free worldwide shipping and a 30-day return guarantee. Own a piece of 1941’s quiet revolution in abstraction.
Add to Cart — $24999