The critic Herbert Read hailed it as 'the highest point ever reached by the aesthetic intuition of man'. As in thought, so in feeling, a vague communication is no communication at all," Gabo once remarked. 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". Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. 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. Works such as Column were in most cases only definitively realized after Gabo left Russia in 1922 for Germany: where, amongst other things, he had easier access to materials. Gift of Collection Socit Anonyme 1941.474 Status: By appointment, Wurtele Study Center Culture: 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. 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". 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. 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. Moscow was caught up in a tumultuous mix of revolutionary fervor and the strife of civil war. An illusion of movement is created as the smooth, wave-like shapes seem to advance and recede. Described by siblings as a "mischievous and daredevil character", he soon looked for radical ways of expressing himself. Gabo was associated briefly with the Bauhaus School - then the hub of European Constructivism - lecturing and writing for their journal. Naum Gabo: The Constructive Process, Tate Gallery, November 1976-January 1977 (17, repr.) 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. Norway was quiet and tranquil. "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. 1, here nylon filament is tightly wrapped around two curvilinear, intersecting plastic planes shaped like a seed pod, creating a shimmering, reflective central form. This piece also represents the first time Gabo used string in his work, inspired by geometrical modelling techniques and by Barbara Hepworth and Henry Moore's sculptures, though Gabo applied this compositional material in a new way. 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. Artwork page for Spiral Theme, Naum Gabo, 1941 When Spiral Theme was shown in wartime London, it was greeted with popular acclaim. The model, like the later piece, is made of glass, plastic, and metal. One of four models made in anticipation of two larger sculptures, Spiral Theme is a curvilinear, transparent construction with a central vertical element, reminiscent of the shells Gabo found on the beaches around St. Ives, his home from 1939 to 1946. 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. Perspex and nylon - Collection of the Tate, United Kingdom. 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. This group idealized the principles of engineering and architecture, and wanted art to have a similarly functional purpose. [2][3] Two preoccupations, unique to Gabo, were his interest in representing negative space"released from any closed volume" or massand 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. See the renowned permanent collection and special exhibitions. In a note on this work published in Read and Martin, op. The auditoria would be hollow, curvilinear, shell-like forms, absorbing stress evenly across their entire surfaces. ', Published in: 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. 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. October 30, 1997, By Christina Lodder / Presented by the artist 1977 2022-10-21. This is not only in the material world surrounding us, but also in the mental and spiritual world we carry within us.". 1928, rebuilt 1938 Perspex and plastic on aluminum base 27 11.3 10 cm (10 5/8 4 7/16 3 15/16 in.) [7] His earliest constructions such as Head No.2 were formal experiments in depicting the volume of a figure without carrying its mass. At the outbreak of World War II he followed his friends Barbara Hepworth and Ben Nicholson to St Ives in Cornwall, where he stayed initially with the art critic Adrian Stokes and his wife Margaret Mellis. Work by Gabo is also included at Rockefeller Center in New York City and The Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, New York, US. Artist: Naum Gabo, American, born Russia, 18901977 Model of the Column (formerly Model for Glass Fountain) ca. 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. In 1913, at Wlflinn's suggestion, Gabo embarked on a six-week walking tour of Italy, viewing Michelangelo's David and other Renaissance and classical masterpieces. The same year he was introduced to Miriam Israels, who he would marry in 1937, with Nicholson and Hepworth as witnesses. 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. 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. Artwork page for Model for Column, Naum Gabo, 19201 Many of Gabo's sculptures first appeared as tiny models. Nonetheless, Gabo began a creative diary during this period, and involved himself in a diverse range of projects, including creating plans for domestic interiors, and even designing a car for the Jowett company in 1944 - though this plan fell through, with Jowett calling Gabo's concepts "radical but impractical". 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. 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). It is March 1950 and Naum Gabo (1890-1977), the world-famous sculptor, is stabbing a mahogany table leg. ", "In the squares and on the streets we are placing our work Art should attend us everywhere that life flows and acts.at the bench, at the table, at work, at rest, at play in order that the flame to live should not extinguish in mankind. The various versions of Linear Construction in Space No. 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. 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. Artwork page for Spiral Theme, Naum Gabo, 1941 When Spiral Theme was shown in wartime London, it was greeted with popular acclaim. "[6] 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. 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. 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. Later versions of Kinetic Construction were more complex, incorporating a switch button, and built from more sophisticated materials. 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. .1927-9. But when set in motion by an electric motor, the oscillations of the rod generate a delicately complex image of a freestanding, twisting wave. As a Russian, he was under constant suspicion, and had to report regularly to the police until 1941, when Britain and Russia became uneasy allies. 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'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. Constructed Head No. 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. cit., Gabo declared: 'From the very beginning of the Constructive Movement it was clear to me that a constructed sculpture, by its very method and technique, brings sculpture very near to architecture. 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. In generating the impression of volume in empty space, Gabo was responding to contemporary scientific theories stressing the "disintegration between solids and surrounding space". This was not a happy period for him, politically or personally. 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. 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"'. Naum Gabo, Annely Juda Fine Art, London, 1999. 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. 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. 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. Autumn 2007. They were often projects for monumental public schemes, rarely achieved, in which sculpture and architecture came together. In particular, the piece seems to enact the idea that "kinetic rhythms" should be "affirmed as the basic forms of our perception of real time", associable both with Einsteinian space-time relativity and (probably more directly) Henri Bergson's conception of time as non-linear. Gabo found his time in Cornwall emotionally challenging, and he experienced severe creative block, potentially a psychological effect of the war: he was following developments in Europe with great anxiety, worried for his family, with whom he had all but lost touch. For Gabo, sculptures like Column, which gave a certain impression of weightlessness, "appeal[ed] to minds and feelings more than crude physical senses". Gabo's migr status didn't help matters. 2 2022-10-21. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet. 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. Boris Pevsner owned a successful metal works and rolling mill, which supplied many of the railways around Russia. As the string nears the central core, it is wound with increasing density, creating a mesmeric gradation of depth. 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". In 1946 Gabo and his wife and daughter emigrated to the United States, where they resided first in Woodbury, and later in Middlebury, Connecticut. With the four versions of Spiral Theme Gabo discovered a new aspect of his creative register, the pieces' graceful, organic forms supplanting the geometric planes and precision of works such as Column, and perhaps reflecting his new creative friendships with artists like Barbara Hepworth. Retrieved March 23, 2018. 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. ", "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. 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. Sep 22, 2013 - This Pin was discovered by Sesit. Stainless steel - St Thomas's Hospital, London. Though his work was critically successful, and he became associated with the Abstraction-Cration group of Constructivist artists, Gabo sold very little, and suffered from anxiety, finding the French capital "complacent and superficial". The ultimate winner was the pompous, neo-classical design of architect Boris Iofan. It was in Munich that Gabo attended the lectures of art historian Heinrich Wlfflin and gained knowledge of the ideas of Einstein and his fellow innovators of scientific theory, as well as the philosopher Henri Bergson. Naum Gabo, KBE born Naum Neemia Pevsner (5 August[O.S. (German) Naum Gabo, 1890-1977, Annely Juda Fine Art, London, 1990. On this Wikipedia the language links are at the top of the page across from the article title. Just before the onset of the First World War in 1914, Gabo discovered contemporary art, by reading Kandinskys Concerning the Spiritual in Art, which asserted the principles of abstract art. By the early 1930s, the political climate in Germany had grown increasingly nationalistic, anti-semitic, and toxic. Expressing a new, intellectually scrupulous approach to the fascination with movement which characterized avant-garde art of this period, Gabo created a work which stands at the forefront of Kinetic Art. See the renowned permanent collection and special exhibitions. 1928, rebuilt 1938 Perspex and plastic on aluminum base 27 11.3 10 cm (10 5/8 4 7/16 3 15/16 in.) They were often projects for monumental public schemes, rarely achieved, in which sculpture and architecture came together. 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." Gabo's health began to fail in his 80s, and he died in 1977 in Waterbury, Connecticut, following a long illness. [1] He famously explored the former idea in his Linear Construction works (1942-1971)used nylon filament to create voids or interior spaces as "concrete" as the elements of solid massand the latter in his pioneering work, Kinetic Sculpture (Standing Waves) (1920), often considered the first kinetic work of art.[4][5]. Constructed Head No. He then moved to Woodbury, Connecticut, USA. 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. Pencil and india ink on paper - Shchusev State Museum of Architecture, Moscow. At the same time, the dynamic curves of the design represented a departure from the geometric aesthetics of the "International Style" then prevalent in modernist architecture, which Gabo had studied, and emulated in previous architectural sketches. As in thought, so in feeling, a vague communication is no communication at all," Gabo once remarked. A sojourn in Paris from 1911 to 1914 introduced him to cubism and futurism, two radical new approaches to making art. He made his first geometrical constructions while living in Oslo in 1915. The Tate Gallery, London held a major retrospective of Gabo's work in 1966 and holds many key works in its collection, as do the Museum of Modern Art and Guggenheim Museum in New York. 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. The transparent planes build upon and reveal the sections below, suggesting emergence and growth. In the manifesto Gabo criticized Cubism and Futurism as not becoming fully abstract arts and stated that the spiritual experience was the root of artistic production. Naum, Miriam, and Nina lived in the USA for 30 years, settling briefly in New York, then moving to Woodbury, Connecticut in 1947. In this sense, the work represented Gabo's lingering commitment to Soviet utopian ideals, even this late into Russia's socialist experiment. 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. Lost in the Detail: Naum Gabo's Monoprints. To a sibling he wrote: "I'm very sorry I've had to absorb such a mass of interesting impressions alone". They were often projects for monumental public schemes, rarely achieved, in which sculpture and architecture came together. 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. 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. His older brother was fellow Constructivist artist Antoine Pevsner; Gabo changed his name to avoid confusion with him. 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. Gabo's engineering training was key to the development of his sculptural work that often used machined elements. As a young man in post-Revolutionary Russia, Gabo was closely associated with Constructivism, 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 Perspex, wood, metal, and glass - The Solomon R. Guggenheim Museum, New York, New York. 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 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 couple remained together for the remainder of Gabo's life, ironically supporting themselves initially with money from Miriam's ex-husband, as well as funds from occasional sales of Gabo's work. 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. 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. Spiral Theme was created at a time when Gabo was deeply concerned about the threat of German invasion of the UK, and the fate of his family in Russia, which had already been invaded by Germany in June 1941. May 7, 1938, By Martin Kemp / His tour was aborted early due to lack of funds and apparent feelings of loneliness. Naum Gabo, ein russischer Konstruktivist in Berlin 1922-1932: Skulpturen, Zeichnungen und Architekturentwrfe, Dokumente und Archive aus der Sammlung der Berlinischen Galerie, ed. "Sculpture: Carving and construction in space,", The Governor Nelson A. Rockefeller Empire State Plaza Art Collection, Mr and Mrs Frank G. Logan Art Institute Prize. 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. 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. The two interlocking vertical planes in this piece, for example, generate a rectangular form without creating a solid rectangle. 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. Nature / [8], Gabo pioneered the use of plastics, such as cellulose acetate, in his sculptures. 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. It was in his sculpture that he evaded all the chaos, violence, and despair he had survived. 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 was offered the studio behind Peter Lanyon's red house whilst the younger artist was away fighting. For Gabo, the string literally constitutes the surface of the sculpture, replacing his earlier practice of scoring lines onto Perspex. It is abstract, geometric, and created with industrial design methods. He famously explored the former idea in his Linear Construction works (1942-1971)used nylon filament to create voids or interior spaces as "concrete" as the elements of solid massand the latter in his pioneering work, Kinetic Sculpture (Standing Waves) (1920), often considered the first kinetic work of art. This is a relatively simple construction by Gabo's standards, consisting of a plain steel rod affixed to a wooden base. Russian-American Sculptor, Designer, and Architect. One of Gabo's most important discoveries was that empty space could be used as an element of sculpture. 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. 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 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. The books and articles below constitute a bibliography of the sources used in the writing of this page. Naum Gabo, born Naum Neemia Pevsner (5 August[O.S. Born in Russia, he had lived in Germany, Norway, France and then from 1936 to 1946 in England. He moved back to Russia in 1917, to become involved in politics and art, spending five years in Moscow with his brother Antoine. 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