8 March: Calder writes the statement "Que ca bouge: A propos des sculpture mobiles." The various objects of the universe may be constant at times, but their reciprocal relationships always vary. There are environments that appear to remain fixed whilst there are small occurrences that take place at a great speed across them. This appears so only because one sees nothing but the mobility of the small occurrences. We notice the movement of automobiles and other beings in the street, but we do not notice that the turning of the earth. We believe that automobiles go at a great speed on a fixed ground; yet the speed of the earth's rotation at the equator is 40,000 km every 24 hours. As truly serious art must follow the greater laws, and not only appearance, I try to put all the elements in motion in my mobile sculptures. It is a matter of harmonizing these movements, thus arriving at a new possibility for beauty. (CF, unpubl. MS., 1932)

12 March: In a letter to Kiesler, Calder describes the reaction to his mobiles. We had a lot of visitors--Leger, Picasso, Carl Einstein, Binks Einstein, Petro van Doesburg, Cocteau, Roux, etc.--who all were enthusiastic about 'abstract sculptures which move' (toy elec. motors being used). There was only one dissenter . . . that was Mondrian. He said they weren't fast enough, and when I stepped on the gas, he said they still weren't fast enough, so I said I'd make one especially fast, to please him, and then he said that that wouldn't be fast enough--because the whole thing ought to be still. Now I feel that beauty of motion is a very real thing--unrelated to any definite machinery. Whether I've achieved it is, of course, another question. (CF, Calder to Kiesler, 12 March)

May: In preparation for their departure from Antwerp to New York on a Belgian freighter, the Calders rent their house to Gabrielle Buffet, the first wife of Francis Picabia. (Calder 1966, 136-137)

9 May: Calder introduces himself in writing to American art critic James Johnson Sweeney. About 3 or 4 months [ago] M. Fernand Leger came to my house in Paris to see my 'mobiles'--abstract sculptures which move--and said he would like to bring you to have a look at them too. . . I am exposing a few of these 'mobiles' at the Julien Levy Gallery 602 Madison Ave N.Y.C. and would be very pleased if you would come and see them. (JJS, Calder to Sweeney, 9 May)

12 May-11 June: "Calder: Mobiles, Abstract Sculptures" is held at the Julien Levy Gallery, New York. The exhibition announcement reprints Leger's introduction to Calder's 1931 Galerie Percier catalogue. Stirling attends the exhibition. (CF, exhibition file)

11 June: Before a group of reporters visiting his exhibition at Julien Levy Gallery, Calder demonstrates the motion in Small Black Panel. This has no utility and no meaning. It is simply beautiful. It has great emotional effect if you understand it. Of course if it meant anything it would be easier to understand but it would not be worthwhile. (New York World-Telegram 1932)

Before 16 June: The Calders visit Louisa's parents in Concord. Calder performs Cirque Calder at the James' home. (CF, Calder 1955-1956, 146; The Concord Herald, 16 June)

After 16 June: The Calders visit Calder's parents in Richmond, Massachusetts. Calder performs Cirque Calder in an old barn that Stirling uses as a studio. (CF, Calder 1955-1956, 146)

By 10 September: The Calders arrive in Barcelona after a fourteen-day passage on the Cabo Tortosa, Garcia and Diaz Spanish line. Following a stop in Malaga, they take a train from Barcelona to Tarragona. (Calder 1966, 138-140; FJM, Calder to Miro, 19 July)

12 September: The Calders arrive at the Miro farm in Montroig for an eight-to-ten day visit. During their stay, Calder performs Cirque Calder for the Miros, their farmhands, and their neighbors. That was the time [Miro] told me the next morning that what he liked best were those bits of paper that floated down. To my mind, it was obvious that these were pigeons. (Calder 1966, 139-140; Lanchner 1993, 330)