He then moved to Woodbury, Connecticut, USA. My works of this time, up to 1924 , are all in the search for an image which would fuse the sculptural element with the architectural element into one unit. Gabo became acquainted with the multitude of Russian artists who had returned after the Revolution, engaged in the collective frenzy of attempting to express the spirit of Soviet society in art. Gabo wrote to the Addison Gallery on 13 March 1949: 'I don't know whether I need to emphasise that this work of mine is of great importance not only to my own development, but it can be historically proved that it is a cornerstone in the whole development of contemporary architecture. Responding to the scientific and political revolutions of his age, Gabo led an eventful and peripatetic life, moving to Berlin, Paris, Oslo, Moscow, London, and finally the United States, and within the circles of the major avant-garde movements of the day, including Cubism, Futurism, Constructivism, the Bauhaus, de Stijl and the Abstraction-Cration group. Gabo visited London in 1935, and settled in 1936, where he found a "spirit of optimism and sympathy for his position as an abstract artist". Later versions of Kinetic Construction were more complex, incorporating a switch button, and built from more sophisticated materials. After making the large version, Gabo also made three models in plastic about 25.4cm high which belong to Sir Leslie Martin, Cambridge, Yale University Art Gallery, New Haven, and Nina S. Gabo, London. "Standing Wave" is a physician's term, used to describe exactly the kind of static-seeming patterns of movement, generated by the passage of energy through certain structures, which the sculpture creates. Gabo elaborated many of his ideas in the Constructivist Realistic Manifesto, which he issued with his brother, sculptor Antoine Pevsner as a handbill accompanying their 1920 open-air exhibition in Moscow. Naum Gabo, ein russischer Konstruktivist in Berlin 1922-1932: Skulpturen, Zeichnungen und Architekturentwrfe, Dokumente und Archive aus der Sammlung der Berlinischen Galerie, ed. Constructed Head No. As in thought, so in feeling, a vague communication is no communication at all," Gabo once remarked. Light catches the transparent plastic, generating a shimmering, ethereal-seeming structure, and creating the illusion of motion as the viewer moves around the sculpture. Then, many years later, the discovery that suitable glass was now made by Pilkington's made it practicable for him in 1975 to construct two enlarged versions 194cm high in stainless steel, glass and perspex, including one for the Louisiana Museum at Humlebaek in Denmark. He then moved to Woodbury, Connecticut, USA. It was in his sculpture that he evaded all the chaos, violence, and despair he had survived. Gabo's engineering training was key to the development of his sculptural work that often used machined elements. His work combined geometric abstraction with a dynamic organization of form in small reliefs and constructions, monumental public sculpture and pioneering kinetic works Described by siblings as a "mischievous and daredevil character", he soon looked for radical ways of expressing himself. They resumed late-night conversations begun in Paris earlier in the decade, on Constructivism, Neo-Plasticism, and the illusionistic space of the painting. 2 (1949), "We renounce in sculpture, the mass as a sculptural element [.] We renounce the thousand-year-old delusion in art that held the static rhythms as the only elements of the plastic and pictorial arts. Already, Bolshevik Russia was becoming hostile to artists of the avant-garde, as the grim paradigm of Socialist Realism appeared on the horizon. de la Croix, Horst and Richard G. Tansey, Gabo, Naum. The central abstract form completes a full rotation every 10 minutes, as plumes of water emerge with varying pressure from 140 holes on the steel wings of the fountain, assuming the form of curved planes. Gabo had no formal artistic training. Jrn Merkert, Berlin: Berlinische Galerie, 1989, 158 pp. Miriam had been married to a businessman, Cyril Franklin, with whom she had three children, but she ended her marriage shortly after meeting Gabo. Gabos acute awareness of turmoil sought out solace in the peacefulness that was so fully realized in his ideal art forms. It is a sign of how much Russia had changed since Gabo's departure nine years previously that neither his proposal nor those of the other modernist architects who had entered were rewarded by the judges. Metal, wood and electric motor - Collection of the Tate, United Kingdom. Once again, in this late work, Gabo makes new strides in his ongoing quest to find ways of expressing volume independently of mass. Column is a freestanding vertical tower made from two transparent, interlocking, rectangular planes that rise from a circular base of dark steel. The larger versions of Spiral Theme arose from Gabo's discovery, in 1935, of a new compositional material, Perspex, which had increased flexibility when heated, and was more transparent than the celluloid he had used in earlier works. In this sense, the work represented Gabo's lingering commitment to Soviet utopian ideals, even this late into Russia's socialist experiment. The ultimate winner was the pompous, neo-classical design of architect Boris Iofan. During this time he won acclamations by many critics and awards like the $1000 Mr and Mrs Frank G. Logan Art Institute Prize at the annual Chicago and Vicinity exhibition of 1954. Naum Gabo: The Constructive Process, Tate Gallery, November 1976-January 1977 (17, repr.) Such efforts were galvanized by the formalisation of ideas associated with Constructivism, partly through the creation of the First Working Group of Constructivists in Moscow in March 1921. Two preoccupations, unique to Gabo, were his interest in representing negative space"released from any closed volume" or massand time. His command of several languages contributed greatly to his mobility during his career. Subtitled International Survey of Constructivist Art, Circle featured important critical statements as well as reproductions of key artworks, and reflected a cultural optimism that the impending conflict in Europe had yet to diminish. The piece now at Yale was bought by the Socit Anonyme from the artist. A sojourn in Paris from 1911 to 1914 introduced him to cubism and futurism, two radical new approaches to making art. Wassily Kandinsky's revelatory book on abstract art, Concerning the Spiritual in Art (1912), was gaining currency at this time, and fomented Gabo's interest in representing the structures and forces of nature. Naum Gabo, Annely Juda Fine Art, London, 1999. Gabo's proposal was his first attempt at a fully realized architectural plan, and was a logical extrapolation of the aesthetics and techniques of his earlier, abstract sculptural works. This is a relatively simple construction by Gabo's standards, consisting of a plain steel rod affixed to a wooden base. The designs also bespoke Gabo's ongoing commitment, in spite of his awareness of the realities of Stalinism, to the Soviet project of constructing a new social realm. Gabo grew up in a Jewish family of six children in the provincial Russian town of Bryansk, where his father Boris (Berko) Pevsner worked as an engineer. ), (London 1957), note between pls.25 and 26, and p.183, A model for the column 104cm high in plastic, wood and, After making the large version, Gabo also made three models in plastic about 25.4cm high which belong to Sir Leslie Martin, Cambridge, Yale University Art Gallery, New Haven, and Nina S. Gabo, London. 24 July]1890 23 August 1977) (Hebrew: ), was an influential sculptor, theorist, and key figure in Russia's post-Revolution avant-garde and the subsequent development of twentieth-century sculpture. Gabo had also begun after his arrival in England to experiment with new materials such as Perspex and stone, influenced by the Direct Carving of Moore and Hepworth, though materials were increasingly hard to source, and sales were poor. Five thousand copies of the manifesto tract were displayed in Moscow streets in 1920. Gabo saw the Revolution as the beginning of a renewal of human values. Naum Gabo Model for Column 19201 The Work of Naum Gabo Nina & Graham Williams / Tate, London 2023 License this image Not on display Artist Naum Gabo 18901977 Medium Plastic (cellulose nitrate) Dimensions Object: 143 95 95 mm Collection Tate Acquisition Presented by the artist 1977 Reference T02167 Display caption Catalogue entry As a young man in post-Revolutionary Russia, Gabo was closely associated with Constructivism, which sought to blur the boundaries between creative and functional processes. The two interlocking vertical planes in this piece, for example, generate a rectangular form without creating a solid rectangle. Born in Russia, he had lived in Germany, Norway, France and then from 1936 to 1946 in England. Naum Gabo, KBE born Naum Neemia Pevsner, was an influential sculptor, theorist, and key figure in Russia's post-Revolution avant-garde and the subsequent development of twentieth-century sculpture. Sep 22, 2013 - This Pin was discovered by Sesit. In 1946 Gabo and his wife and daughter emigrated to the United States, where they resided first in Woodbury, and later in Middlebury, Connecticut. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet. Artwork page for Model for Column, Naum Gabo, 19201 Many of Gabo's sculptures first appeared as tiny models. 2022-10-21. After visiting London in 1935, Gabo settled in England the following year. Though not a part of this group, and opposed to aspects of their utilitarian aesthetic, Gabo was breathing the same creative air, and like the Working Group artists, was inspired by the demonstration of modern engineering principles in Vladimir Tatlin's majestic Model for a Monument to the Third International (1920). He made the first of a series of small, three-dimensional models, using glass, metal and new plastics the following year but owing to the size and nature of the work, and the unstable nature of new plastics, he was unable to In breaking down the boundaries between sculpture and architecture, integrating engineering techniques and scientific concepts into his creative process, and using industrial materials, he made a vital contribution to the development of Constructivist aesthetics. In fact, the element of movement in Gabos sculpture is connected to a strong rhythm, more implicit and deeper than the chaotic patterns of life itself. He was part of the St Ives group in Cornwall, alongside Barbara Hepworth and Ben Nicholson. [7] His earliest constructions such as Head No.2 were formal experiments in depicting the volume of a figure without carrying its mass. St. Ives, Cornwall had been home to a large community of artists since the 1920s, including Bernard Leach, Adrian Stokes, and the fisherman and artistic savant Alfred Wallis. 2023 The Art Story Foundation. This meant he could incorporate empty spaces into his sculptures. Gabo's influence on modern art has been profound, though it is sometimes underemphasized in art history books. Less publicly, he derided Tatlin for "playing around with engineering forms and materials". [8], Gabo pioneered the use of plastics, such as cellulose acetate, in his sculptures. At the same time, he was working on a series of increasingly abstract sculptural constructions. Hammer, Martin and Naum Gabo, Christina Lodder. Russian-American Sculptor, Designer, and Architect. Cellulose, acetate and Perspex - Collection of the Tate, United Kingdom. Artist: Naum Gabo, American, born Russia, 18901977 Model of the Column (formerly Model for Glass Fountain) ca. These earliest constructions originally in cardboard or wood were figurative such as the Head No.2 in the Tate collection. Constructed Head No. Gabo began printmaking in 1950, when he was persuaded to try out the medium by William Ivins, a former curator of prints at the Metropolitan Museum of Modern Art, New York. Imaginative as Gabo was, his practicality lent itself to the conception and production of his works. The "Project for a Radio Station" which I did in the winter of 1919-20, and Tatlin's model for the 3rd International done a year earlier, indicate the trend of our thoughts at that time. He attended the local gymnasium in Kursk, before moving to Munich in 1911 to study medicine at his father's insistence, later recollecting that this was partly due to his ability to heal his mother's headaches with his hands. base: 0.3 cm (1/8 in.) Gabo and Antoine Pevsner had a joint exhibition at the Galerie Percier, Paris in 1924 and the pair designed the set and costumes for Diaghilev's ballet La Chatte (1926) that toured in Paris and London. Artwork page for Model for Column, Naum Gabo, 19201 Many of Gabo's sculptures first appeared as tiny models. The transparent planes build upon and reveal the sections below, suggesting emergence and growth. He went on to produce a significant and varied body of graphic work, including much more elaborate and lyrical compositions, until his death in 1977. For the British artists, the string is an addition to the dominant sculptural form, and is widely spaced, adding distinct lines and texture which contrast with solid mass. Born in Russia, he had lived in Germany, Norway, France and then from 1936 to 1946 in England. At the same time, he was moved by works that looked back to indigenous Russian artistic traditions, experimenting with romantic and expressive watercolors that drew heavily on the paintings of Mikhail Vrubel. This piece of sculpture by Naum Gabo is a model for a larger piece he completed in 1923 called Column. Kinetic Construction was Gabo's first motorized sculpture, demonstrating his pioneering integration of engineering techniques and scientific principles into art. In a country starved of resources, Gabo had to rely on a friend who worked for Imperial Chemicals to provide these materials. After the Soviet Union withdrew from World War I in 1917 and the threat of a draft was over, Pevsner and his brother, sculptor Naum Gabo, returned to Moscow to participate in the utopian fervor of building a new egalitarian society. In a note on this work published in Read and Martin, op. 1 (1942-43), Linear Construction in Space No. It was first exhibited in 1920, to great critical acclaim. After school in Kursk, Gabo entered Munich University in 1910, first studying medicine, then the natural sciences, and attended art history lectures by Heinrich Wlfflin. Portland Stone - Collection of the Tate, United Kingdom. Naum Gabo Column 1921 - 1922/75 The Work of Naum Gabo Nina and Graham Williams Biography Born 1890 Died 1977 Nationalities Russian American Birth place Klimovichi Death place Waterbury Gabo was born in Russia and trained in Munich as a scientist and engineer. Intended to demonstrate ideas from modern geometry and physics, Gabo's use of space within sculpture stands alongside Stphane Mallarm's incorporation of page-space into poetry, and John Cage's incorporation of silence into music, in epitomizing a modern, secular concern with expressing what is unknown as well as what is known: with void as well as form. Then, in the summer of 1941, art patron Margaret Gardiner offered Gabo 25 to produce a work for her partner, the scientist John Bernal. Responding to the scientific and political revolutions of his age, Gabo led an eventful and peripatetic life, moving to Berlin, Paris, Oslo, Moscow, London, and finally the United States, and within the circles of the major avant-garde movements of the day, including Cubism, Futurism, Constructivism, the Bauhaus, de Stijl and the Abstraction-Cration group. Gabo had underplayed his Jewish identity for most of his life, resisting categorisation as an artist by his ethnicity, but now, horrified by the rise of the Nazis, he became newly aware of his heritage. Though Boris was Jewish, the siblings were brought up Christian through the influence of their Russian Orthodox grandmother, and Naum would distance himself from his Jewish roots for much of his life. In 1950, Gabo began wood-block printing, an activity which would occupy him until his death, generating a significant body of work. It is March 1950 and Naum Gabo (1890-1977), the world-famous sculptor, is stabbing a mahogany table leg. The model, like the later piece, is made of glass, plastic, and metal. See the renowned permanent collection and special exhibitions. The sculpture was eventually installed as a fountain centre-piece for St. Thomas's Hospital, London in 1975, and in 1976 was unveiled by Queen Elizabeth II during the hospital's official opening. Over the years his exhibitions have generated immense enthusiasm because of the emotional power present in his sculpture. His older brother was fellow Constructivist artist Antoine Pevsner; Gabo changed his name to avoid confusion with him. An illusion of movement is created as the smooth, wave-like shapes seem to advance and recede. Lost in the Detail: Naum Gabo's Monoprints. By Naum Gabo (Author), Christina Lodder (Editor), Martin Hammer (Editor), By Martin Hammer, Naum Gabo, Christina Lodder, By Naum Gabo, Steven A. Nash, Jrn Merkert, Colin C. Sanderson, By Anne Cleveland / A larger version was created for the exhibition New Movements in Art: Contemporary Work in England, held at the London Museum in Spring 1942. A third, Natan (later Antoine), four years older than Naum, became a successful artist, and was a significant influence on his younger brother, whose artistic curiosity was beginning to emerge through a love of poetry and early attempts at sculpture, informed by the Tsarist art that dominated his cultural landscape. But while his artist comrade Vladimir Tatlin created raw, crudely assembled reliefs, Gabo's works were delicate and precise; at the same time, they had a distinct mechanical aesthetic, indicating his enduring fascination with science and engineering. It manifests the spiritual rhythm and directs it. ', Published in: Expelled from his primary school in 1904 for writing subversive poems about his headmaster, he was sent to Tomsk, where he inadvertently attended his first socialist meeting during the 1905 revolution. The Palace of the Soviets, according to the brief, was to consist of two auditoria holding 20,000 people in total, and would serve as a venue for mass meetings, demonstrations, and cultural events. your own Pins on Pinterest He was also finally able to achieve a long-held ambition of creating large-scale, public works, receiving commissions from the Rockefeller Centre in New York in 1949, and the Baltimore Museum of Art in 1950 - though only the latter construction was realized, a hanging sculpture inspired by Alexander Calder (with whom Gabo would exhibit in 1953 at the Wadsworth Athaeneum) and Rodchenko. The model, like the later piece, is made of glass, plastic, and metal. In 1922, Gabo emigrated to Berlin, where he would remain for ten years, assisting shortly after his arrival with the organization of the First Russian Art Exhibition (1922) at the Van Diemen Gallery, sponsored by the Russian Ministry for Information. 2022-10-21. His influence was important to the development of modernism within St Ives, and it can be seen most conspicuously in the paintings and constructions of John Wells and Peter Lanyon, both of whom developed a softer more pastoral form of Constructivism. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. In the calmness at the still centre of even his smallest works, we sense the vastness of space, the enormity of his conception, time as continuous growth." Gift of Collection Socit Anonyme 1941.474 Status: By appointment, Wurtele Study Center Culture: Naum Gabo Naum Neemia Pevsner Born: August 5, 1890; Bryansk, Russian Federation Died: August 23, 1977; Waterbury, Connecticut, United States Nationality: Russian, Jewish Art Movement: Constructivism, Kinetic art Painting School: Abstraction-Cration, St Ives School Genre: sculpture Field: painting, sculpture Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. To escape the rise of the Nazis in Germany the pair stayed in Paris in 193235 as members of the Abstraction-Creation group with Piet Mondrian. During his travels to Paris in 1912-13, Gabo had seen Picasso and Braque's paintings - the artists were still in their so-called Analytical Cubis" phase - and in Norway he began to apply similar concepts of breaking up the picture plane into three-dimensional work - consider Picasso's Woman with Pears (1909), for example. Gabo worked through various movements and ideas, eventually settling in the United States after the Second World War. Celluloid and plastic, 5 5/8 x 3 3/4 x 3 3/4 (14.4 x 9.4 x 9.4) His maquettes for that project, and the earliest version of Linear Construction 2, date from 1949; the version in the Tate Collection was specially constructed and donated by the artist in 1969, in memory of his friend Herbert Read (it was rebuilt in 1971). Gabo's designs had become increasingly monumental but there was little opportunity to apply them; as he commented, "It was the height of civil war, hunger and disorder in Russia. Gabo wrote his Realistic Manifesto, in which he ascribed his philosophy for his constructive art and his joy at the opportunities opened up by the Russian Revolution. Lost in the Detail: Naum Gabo's Monoprints. Inspired by his war-time associates Moore and Hepworth, Gabo wanted to see if he could generate the sense of kinetic rhythm which his work relied on whilst utilizing a more conventional approach to sculpture. Whereas the Tate's model has a red base, the bases of the others are either black or (in the case of Nina Gabo's version) stainless steel. Gabo's increasing concern, from the late 1930s, with the aesthetic aspect of his work at the expense of the industrial can be seen in Model for 'Construction in Space "Crystal"'. Linear Construction in Space, another work created during Gabo's time in St. Ives, is formed from nylon filament thread wound taut around a Perspex framework, creating an intricate web that encases a central void. Gabos vision is imaginative and passionate. Boris Pevsner owned a successful metal works and rolling mill, which supplied many of the railways around Russia. The piece, carved from a single block of Portland Stone, was begun in London in 1936, shortly after Gabo's arrival in Britain following four unhappy years in Paris. Gift of Collection Socit Anonyme 1941.474 Status: By appointment, Wurtele Study Center Culture: In 1952, despite finishing ahead of 3,500 other artists, he was disappointed to be awarded second prize in the Institute of Contemporary Art's Unknown Political Prisoner international sculpture competition, his abstract monument design having been perceived to lack emotion. Despite this, the European art market was struggling and Europe seemed increasingly unsafe. 2 grew from Gabo's unrealized plans for two public sculptures to stand outside the new Esso Building at the Rockefeller Center in New York. Tate Papers / Gabo's engineering training was key to the development of his sculptural work that often used machined elements. Content compiled and written by The Art Story Contributors, Edited and revised, with Summary and Accomplishments added by Greg Thomas, Kinetic Construction (Standing Wave) (1920), Submitted Design for Palace of Soviets: Plan of Main Hall and Section (1931), Linear Construction in Space No. The construction was therefore intended precisely to demonstate a scientific principle, and as a more sophisticated, scientifically accurate rendering of motion than the Futurists had managed with their rather excitable paintings. (German) Naum Gabo, 1890-1977, Annely Juda Fine Art, London, 1990. As a young man in post-Revolutionary Russia, Gabo was closely associated with Constructivism, These include Constructie, an 81-foot commemorative monument in front of the Bijenkorf Department Store (1954, unveiled in 1957) in Rotterdam, and Revolving Torsion, a large fountain outside St Thomas Hospital in London. Kinetic Stone Carving is one of Gabo's more anomalous and beautiful works, which would probably not have been created without the creative stimulus of his friendship with British abstract sculptors such as Henry Moore and Barbara Hepworth during the late 1930s and 1940s. Gabo also became alienated quite quickly from the St. Ives School, shutting himself away in his studio for days, and arguing with Nicholson and Hepworth after he accused the latter of stealing his ideas. He would later remark that "if anyone made me a Jew, it was Hitler". After the outbreak of war, Gabo moved first to Copenhagen then Oslo with his older brother Alexei, making his first constructions under the name Naum Gabo in 1915. Key to this work, considered by many critics to be amongst Gabo's finest, are the harmonious, organic rhythms generated by the interplay of curved lines, and the complex patterns of reflected light which shift and reconfigure as the viewer moves around the sculpture. It is abstract, geometric, and created with industrial design methods. After school in Kursk, Gabo entered Munich University in 1910, first studying medicine, then the natural sciences, and attended art history lectures by Heinrich Wlfflin. Gabo made preliminary designs for Column in 1921 with the idea of making it into a large public sculpture, towering over the hills near Moscow. The introduction of a liquid element into the body of the sculpture is highly significant, with the surfaces formed by the jets of water replacing the string meshwork of the Linear Constructions in creating the illusion of solid matter. At the same time, the sculpture spoke to a spiritual concern which had been present in his aesthetic as far back as The Realistic Manifesto (1920), but which was now becoming more pronounced, with the central, framed space evoking ideas of the infinite and the cosmic. The use of industrial materials like metal and glass in works like Column was a way of emulating mechanical and architectural processes, as was the angular precision of the design. Naum Gabo, ein russischer Konstruktivist in Berlin 1922-1932: Skulpturen, Zeichnungen und Architekturentwrfe, Dokumente und Archive aus der Sammlung der Berlinischen Galerie, ed. He later recalled that though such works had a profound effect on him, they "were all dead", and "it was nature that impressed him, not art". They were often projects for monumental public schemes, rarely achieved, in which sculpture and architecture came together. His older brother was fellow Constructivist artist Antoine Pevsner; Gabo changed his name to avoid confusion with him. The same year, he became a citizen of the United States, and in 1953 the family moved to Middlebury, Connecticut. In Northern Europe, Gabo inspired a younger generation of artists, including the mid-century Concrete Artists - Theo van Doesburg, Max Bill, Joseph Albers - through his emphasis on elementary forms, and British sculptors such as Henry Moore and Barbara Hepworth through his use of stringing techniques, and his incorporated of empty space into the body of the sculpture. It is March 1950 and Naum Gabo (1890-1977), the world-famous sculptor, is stabbing a mahogany table leg. Constructing his sculptures from sets of interlocking components rather than carving or moulding them from inert mass allowed him to incorporate space into his work more easily. Discover (and save!) 2 is one of a set of early figurative works by Gabo now seen to have revolutionized sculpture. ", "I have chosen the absoluteness and exactitude of my lines, shapes and forms, in the conviction they are the most immediate medium for my communication to others of the rhythms and states of mind I would wish the world to be in. The Pevsners were a large, tightknit, patriarchal middle-class family, with a strong and charismatic father, Boris, and mother, Fanny. The birth of a daughter, Nina Serafima, in 1941, also brought him out of a period of creative torpor. As a student of medicine, natural science and engineering, his understanding of the order present in the natural world mystically links all creation in the universe. Naum Gabo Naum Neemia Pevsner Born: August 5, 1890; Bryansk, Russian Federation Died: August 23, 1977; Waterbury, Connecticut, United States Nationality: Russian, Jewish Art Movement: Constructivism, Kinetic art Painting School: Abstraction-Cration, St Ives School Genre: sculpture Field: painting, sculpture The mid-1930s was an important period for British Constructivism, and Gabo and his associates wanted the world to know that the avant-garde had shifted from its Parisian base. In a highly memorable and traumatic encounter, he witnessed the brutality of the Cossacks against a protester, later recalling: "I was 15 years old and that day and that night I became a revolutionary". Meeting Trotsky on more than one occasion, during the early 1920s Gabo worked for the new Department of Fine Arts (IZO), dominated by abstracts artists at this time, which led him to work on a new art education program for schools, and on the single issue of the department Journal, Izo. He clashed with El Lissitzky, for example, over an article by Lissitsky which Gabo claimed had plagiarized concepts from Realistic Manifesto, speaking of a "dry and bitter spirit of hostility between them". Gabo also began attending the art-history lectures of an influential tutor, Heinrich Wlfflin. Autumn 2007. During his time in Germany, Gabo also worked with his brother, Antoine, who had settled in Paris in 1923, on the set for Sergei Diaghilev's ballet La Chatte (1927), and on other projects for Diaghilev's popular Ballet Russes company. Model for 'Column' was created in 1921 by Naum Gabo in Constructivism style. He made his first geometrical constructions while living in Oslo in 1915. From an early age, Naum was strong-minded, rebellious, and politically driven. He was part of the St Ives group in Cornwall, alongside Barbara Hepworth and Ben Nicholson. This piece of sculpture by Naum Gabo is a model for a larger piece he completed in 1923 called Column. He moved back to Russia in 1917, to become involved in politics and art, spending five years in Moscow with his brother Antoine. Stainless steel - St Thomas's Hospital, London. Drawing inspiration from his natural surroundings - a relatively new creative approach for Gabo - and from a series of photographs he had made that summer of light patterns reflected from shiny surfaces, Gabo created the first maquette for Spiral Theme. Spiral Theme also helped to ensure Gabo's reputation within Britain. base: 0.3 cm (1/8 in.) The piece now at Yale was bought by the Socit Anonyme from the artist c.1927-9. 2 2022-10-21. About this artwork. [8], Rejecting the traditional notion that prints should be made in editions of identical impressions, Gabo instead preferred to use the monoprint format as a vehicle for artistic experimentation. This document, written by Gabo, made history, galvanizing the spirit of rebellion and the urgent desire for change amongst a huge swath of Russian culture at this time. Naum Gabo, KBE born Naum Neemia Pevsner, was an influential sculptor, theorist, and key figure in Russia's post-Revolution avant-garde and the subsequent development of twentieth-century sculpture. Herbert Read and Leslie Martin, Gabo: Constructions, Sculpture, Paintings, Drawings, Engravings "Naum Gabo Artist Overview and Analysis". As news of the February 1917 Revolution broke, Naum and Antoine returned home to Russia, in time for the Bolshevik coup of October 1917. But they are really significant in epitomizing a moment in the history of modern art when it seemed that avant-garde painters, sculptors and architects might have a role to play in the construction of a new society. This element of his work, initially developed to mould the mindset of the new Soviet citizen, influenced a whole paradigm within 20. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. Gabo was a fluent speaker and writer in German, French, and English in addition to his native Russian. Gabo described himself as "making images to communicate my feelings of the world." ", "Sculpture personifies and inspires the ideas of all great epochs. Artwork page for Spiral Theme, Naum Gabo, 1941 When Spiral Theme was shown in wartime London, it was greeted with popular acclaim. During this period he realised a design for a fountain in Dresden (since destroyed). The work is composed of six meditations, in which Descartes attempts to establish a firm Plastic and nylon threads - Collection of the Tate, United Kingdom. In it, he sought to move past Cubism and Futurism, renouncing what he saw as the static, decorative use of color, line, volume and solid mass in favor of a new element he called "the kinetic rhythms () the basic forms of our perception of real time. By the time he reached England in 1936 Gabo was an internationally recognized artist, and he was welcomed warmly by British artists and critics such as Barbara Hepworth, her future husband Ben Nicholson, and Herbert Read, many of whom Gabo had met in Paris through Abstraction-Cration. In 1920, Gabo exhibited in his first show, an outdoor exhibition in a bandstand on the Tverskoy Boulevard in central Moscow, with brother Antoine and Latvian artist and photographer Gustav Klutsis. Gabo exhibited, alongside many of his compatriates, in the ground-breaking Abstract and Concrete show at London's Lefvre Gallery in 1936, and in 1937 he co-edited the hugely influential compendium of Constructivist art Circle, with Ben Nicholson and the architect Leslie Martin. In a sense, his approach to the project had developed out his earlier interest, as a sculptor, in the difference between mass and volume: how a space could be articulated without being filled with solid elements. He made his first geometrical constructions while living in Oslo in 1915. One of Gabo's most important discoveries was that empty space could be used as an element of sculpture. He sometimes even used motors to move the sculpture. Like lots of Gabo's later, large-scale public works, Revolving Torsion is the final realization of a theme previously expressed across a range of scales and materials, in this case as various plastic and metal models created from the late 1920s onwards: Model for Torsion (circa 1928), Torsion: Project for a Fountain (1960-64), etcetera. Though he was to live in self-imposed exile in Europe and America for most of his adult life, he always lamented his distance from Russia, where he claimed his "consciousness was moulded". Naum Gabo, Annely Juda Fine Art, London, 1999. The auditoria would be hollow, curvilinear, shell-like forms, absorbing stress evenly across their entire surfaces. Then, many years later, the discovery that suitable glass was now made by Pilkington's made it practicable for him in 1975 to construct two enlarged versions 194cm high in stainless steel, glass and perspex, including one for the Louisiana Museum at Humlebaek in Denmark. The full text of the article is here , Two Cubes (Demonstrating the Stereometric Method), Model for 'Construction in Space, Suspended', Construction in Space with Crystalline Centre, Model for 'Construction in Space 'Two Cones''. This show featured over 700 works, including paintings, sculptures, set designs, and architectural models, and was a significant event in the reception of Constructivism in Northern Europe. He was also innovative in his works, using a wide variety of materials including the earliest plastics, fishing line, bronze, sheets of Perspex, and boulders. The exactness of form leads the viewer to imagine journeying into, through, over and around his sculptures. His friend, the art critic Herbert Read, described it as expressing "the highest point ever reached by the aesthetic intuition of man". He made the first of a series of small, three-dimensional models, using glass, metal and new plastics the following year but owing to the size and nature of the work, and the unstable nature of new plastics, he was unable to The critic Herbert Read hailed it as 'the highest point ever reached by the aesthetic intuition of man'. 'From the very beginning of the Constructive Movement it was clear to me that a constructed, , Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.236-7, reproduced p.236, Model for Construction in Space Two Cones, Model for Construction in Space Crystal. 2 2022-10-21. Created as a prototype for a site-specific, large-scale public sculpture intended to be placed near a Soviet textile factory, Linear Construction was conceived as a tribute to the artists and workers still attempting to construct a socialist society. The books and articles below constitute a bibliography of the sources used in the writing of this page. Gabo's health began to fail in his 80s, and he died in 1977 in Waterbury, Connecticut, following a long illness. Responding to the scientific and political revolutions of his age, Gabo led an eventful and peripatetic life, moving to Berlin, Paris, Oslo, Moscow, London, and finally the United States, and within the circles of the major avant-garde movements of the day, including Cubism, Futurism, Constructivism, the Bauhaus, de Stijl and the Abstraction-Cration group. As the string nears the central core, it is wound with increasing density, creating a mesmeric gradation of depth. At the same time, it is perhaps the most literal of Gabo's Kinetic sculptures - he called it more of an "explanation of the idea than a Kinetic sculpture itself" - and he progressed from here to works that suggested rather than embodied movement, through their dynamic arrangement of form and space. Again, this sculpture represents a creative departure from Gabo's previous work. He incorporated principles from engineering and architecture into his creative explorations, and used his sculptures to describe and demonstrate new scientific concepts such as Einstein's space-time relativity. It was by this means that the young Naum became familiar with many of the industrial materials that would later inspire his work, while two of his older brothers pursued careers in engineering. His ingenious extension of Cubist painting techniques into the realm of sculpture predicated much abstract sculpture of the following decades. See the renowned permanent collection and special exhibitions. With London in danger of Luftwaffe attacks, Hepworth and Nicholson had retreated to the Cornish coast, and St. Ives had seemed the safest option for Naum and Miriam too, though only temporarily. Two years later, he defied his father's wishes by transferring to study maths, natural and applied sciences, engineering, and, finally, philosophy. Moving away from the geometrical precision typical of 1920s modernist architecture - the work of Le Corbusier, for example - Gabo's work predicts later developments in the style, such as the curvilinear forms of Lucio Costa and Oscar Niemeyer's designs for Braslia in the 1950s. 20 separate versions exist of this sculpture, strung together in complex and delicate configurations, light catching the nylon filament to emphasize what Gabo called a "sense of immateriality". His work combined geometric abstraction with a dynamic organization of form in small reliefs and constructions, monumental public sculpture and pioneering kinetic works that assimilated new materials such as nylon, wire, lucite and semi-transparent materials, glass and metal. Vassar Miscellany News / A reverse structure, and a kind of companion piece, to Linear Construction in Space No. Jrn Merkert, Berlin: Berlinische Galerie, 1989, 158 pp. Constructed Head No. This move gave Naum the excuse he had craved to abandon his studies and concentrate on his art. Characteristically, though, he disagreed with some of their functionalist principles. Caroline Collier, an authority on Gabos work, said, "The real stuff of Gabos art is not his physical materials, but his perception of space, time and movement. Recalling the creation of the sculpture in impoverished, war-torn Moscow, where most of the factories were shut, Gabo stated that he visited the mechanical workshop of the Polytechnicum Museum, where he requisitioned an old electric door bell whose internal electromagnet became the mechanical component of the piece. The use of space in the work, in this case the central void enclosed by the surrounding Perspex, becomes a newly prominent feature. 1928, rebuilt 1938 Perspex and plastic on aluminum base 27 11.3 10 cm (10 5/8 4 7/16 3 15/16 in.) Naum Gabo Model for Column 19201 The Work of Naum Gabo Nina & Graham Williams / Tate, London 2023 License this image Not on display Artist Naum Gabo 18901977 Medium Plastic (cellulose nitrate) Dimensions Object: 143 95 95 mm Collection Tate Acquisition Presented by the artist 1977 Reference T02167 Display caption Catalogue entry In the 1960s a project for enlarging Column had floundered in part, precisely because of his desire to ensure aesthetic quality.21 In 1971, however, Gabo had enough faith in Knud Jensen, director of the Louisiana Museum, to allow him to oversee the construction of a pair of large Columns in Denmark, using Gabos model, his specifications, and incorporating transparent Lit: Naum Gabo's structurally complex, mesmeric abstract sculptures cast a shadow over the whole of 20 th-century art, while his life was that of the quintessential creative migr, as he moved from country to country seeking new contexts for his work, in flight from war and repression. 2 is known to have been one of Gabo's favorite works, and it signals arguably the final significant creative shift of Gabo's career, taking him towards the large, public works of the 1950s-70s. In 1912 Gabo transferred to an engineering school in Munich where he discovered abstract art and met Wassily Kandinsky and in 1913-14 joined his brother Antoine (who by then was an established painter) in Paris. Gabo would go on to exhibit regularly with the revolutionary Novembergruppe artists - named after the month in 1918 when Germany's own socialist uprising had begun - and to make links with artists such as Hans Richter and Kurt Schwitters. Gabo elaborated many of his ideas in the Constructivist Realistic Manifesto, which he issued with his brother, sculptor Antoine Pevsner as a handbill accompanying their 1920 open-air exhibition in Moscow. Gabo and Pevsner distributed 5000 copies on the streets of Moscow, calling for a new art for the people, a "new Great Style" which would capture the spirit of an "unfolding epoch of human history". Gabo's other concern as described in the Realistic Manifesto was that art needed to exist actively in four dimensions including time. Linear Construction in Space No. Finished in St. Ives, it is one of a number of stone works from this period which represent Gabo's first experiments with the time-honored technique of direct carving. They moved there shortly before their planned journey to North America, but in September 1939, the passenger ferry the Athena was torpedoed by German submarines - the first such casualty of World War Two - and they were forced to cancel their trip. For Gabo, sculptures like Column, which gave a certain impression of weightlessness, "appeal[ed] to minds and feelings more than crude physical senses". [Internet]. In 1931, towards the end of his decade in Germany, Gabo produced architectural plans for a government competition to create a new building in Moscow, commemorating the founding of the USSR. Norway was quiet and tranquil. Gabo held a utopian belief in the power of sculpturespecifically abstract, Constructivist sculptureto express human experience and spirituality in tune with modernity, social progress, and advances in science and technology. As in the earlier Linear Construction, space is contained without being filled, a new and elegant way of emphasizing volume independently of mass. It is abstract, geometric, and created with industrial design methods. The various versions of Linear Construction in Space No. Naum gabo artwork Rating: 4,3/10 1459 reviews. His proposal that Monument for an Airport could be used to advertise Imperial Airways, as either a desk display or an outdoor sculpture, was never realised. As a student of engineering and architecture, he emulated and demonstrated cutting-edge techniques from those fields in his sculptural constructions, and designed complex architectural plans himself. They were often projects for monumental public schemes, rarely achieved, in which sculpture and architecture came together. Whereas the Tate's model has a red base, the bases of the others are either black or (in the case of Nina Gabo's version) stainless steel. Exh: 'I consider this Column the culmination of that search. Set within the Perspex planes are opaquely colored, geometric floating shapes, and an open ring. Artists such as Alexander Calder, Jean Tinguely, Victor Vasarely, and Bridget Riley all worked in the wake of Gabo's pioneering experiments. The Cornish coastline was a source of emotional solace; since moving to St. Ives, the Gabos had collected shells from the nearby beaches. In essence, these pieces reflect a shift in Gabo's way of thinking about the depiction of empty space as volume, something he now felt was best achieved with spherical rather than angular forms. Gabo was associated briefly with the Bauhaus School - then the hub of European Constructivism - lecturing and writing for their journal. The Work of Naum Gabo Nina & Graham Williams / Tate, London 2023. Naum Gabo biography. T02167 is presumably the tiny model referred to. The same year he was introduced to Miriam Israels, who he would marry in 1937, with Nicholson and Hepworth as witnesses. Gabo wrote and issued jointly with Antoine Pevsner in August 1920 a "Realistic Manifesto" proclaiming the tenets of pure Constructivism the first time that the term was used. .1927-9. But this piece has its origins in the heady post-revolutionary atmosphere of early 1920s Moscow, where sculptors were attempting to apply the abstract visual vocabulary of the Suprematist painter Kazimir Malevich to three-dimensional art. 1, here nylon filament is tightly wrapped around two curvilinear, intersecting plastic planes shaped like a seed pod, creating a shimmering, reflective central form. Moreover, in rejecting the notion of sculpture as weighty, monolithic and solid, and in emphasizing that space is no less tangible than solid matter, this delicate construction predicts a number of elementary paradigms in modern sculpture more generally. Gabo's plans, on which he worked feverishly for several months, consisted of two vast auditoria constructed from reinforced concrete, protruding from a towering central service block. Model for 'Column' was created in 1921 by Naum Gabo in Constructivism style. Nonetheless, in 1946, he and his new family finally made the long-awaited move to the USA, mainly on the promise of finding a more lucrative market for Gabo's work. Constructed from flat planes of intersecting plywood this Madonna-like figure alludes to the icon paintings that Gabo would have seen in Russian Orthodox domestic interiors, traditionally placed high up in the corner of the room, as if watching over the inhabitants below. (London 1957), note between pls.25 and 26, and p.183. Ultimately, construction on the Palace of the Soviets was aborted by the German invasion of Russia in 1941, and never resumed. Despite severe economic hardship, Gabo threw himself into the cause over the next five years, later recalling that "at the beginning we were all working for the Government". [2][3][5] After working on a smaller scale in England during the war years (1936-1946), Gabo moved to the United States, where he received several public sculpture commissions, only some of which he completed. It should be noticed that the work was conceived in the winter of 1920-1, as a tiny model, and executed in the winter of 1922-3 in its big form'. October 30, 1997, By Christina Lodder / His sculptures initiate a connection between what is tangible and intangible, between what is simplistic in its reality and the unlimited possibilities of intuitive imagination. Naum Gabo, KBE born Naum Neemia Pevsner (5 August[O.S. While in Cornwall he continued to work, albeit on a smaller scale. By using nylon, a new, synthetic material whose elasticity, smoothness and translucency defined the feel of this sculpture, Gabo again demonstrated his engagement his interest in using new, man-made compositional materials. Column is a representative piece of constructivist sculpture. Gabo made preliminary designs for Column in 1921 with the idea of making it into a large public sculpture, towering over the hills near Moscow. After working on a smaller scale in England during the war years (1936-1946), Gabo moved to the United States, where he received several public sculpture commissions, only some of which he completed. Sure enough, the piece generates a marked contrast between the rough texture of the untreated stone and the two smooth, shelf-like planes chiselled into it, which snake horizontally around it, interconnecting when viewed from above. 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