By incorporating moving parts into his sculpture, or static elements which strongly suggested movement, Gabo's work stands at the forefront of a whole artistic tradition, Kinetic Art, which uses art to represent time as well as space. 2 was Gabo's first significant work after his move to the USA in 1946. 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. "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. 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 was offered the studio behind Peter Lanyon's red house whilst the younger artist was away fighting. 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. 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. His command of several languages contributed greatly to his mobility during his career. 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. Later versions of Kinetic Construction were more complex, incorporating a switch button, and built from more sophisticated materials. The model, like the later piece, is made of glass, plastic, and metal. It is abstract, geometric, and created with industrial design methods. In this sense, the work represented Gabo's lingering commitment to Soviet utopian ideals, even this late into Russia's socialist experiment. 2 2022-10-21. 'I consider this Column the culmination of that search. Russian-American Sculptor, Designer, and Architect. 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. 2022-10-21. 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. Surrounded by fjords, and mountains where they would ski on weekends, the brothers were funded by their father, thereby avoiding both paid work and the horrors of war in Europe. 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. Naum, Miriam, and Nina lived in the USA for 30 years, settling briefly in New York, then moving to Woodbury, Connecticut in 1947. Kinetic Construction was Gabo's first motorized sculpture, demonstrating his pioneering integration of engineering techniques and scientific principles into art. 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. 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. Discover (and save!) 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". Around this time, he also saw many Post-Impressionist and Cubist works in Russia, where the entrepreneur and art-collector Sergei Shchukin exhibited his European collection regularly. 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. Artwork page for Model for Column, Naum Gabo, 19201 Many of Gabo's sculptures first appeared as tiny models. Gabo contributed to the Agit-prop open air exhibitions and taught at 'VKhUTEMAS' the Higher Art and Technical Workshop, with Tatlin, Kandinsky and Rodchenko. Gabo's formative years were in Munich, where he was inspired by and actively participated in the artistic, scientific, and philosophical debates of the early years of the 20th century. The dynamic arrangement of string-work and Perspex creates three-dimensional light patterns which transform as the viewer moves around the object. your own Pins on Pinterest It is one of a number of works created during the early 1920s which demonstrate Gabo's departure from the early, figurative style of the Constructed Heads, and his movement towards a more pure abstraction. Moscow was caught up in a tumultuous mix of revolutionary fervor and the strife of civil war. Gabo grew up in a Jewish family of six children in the provincial Russian town of Bryansk, where his father owned a factory. Gabo was a fluent speaker and writer in German, French, and English in addition to his native Russian. 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. For Gabo, the string literally constitutes the surface of the sculpture, replacing his earlier practice of scoring lines onto Perspex. His use of empty space as a substantive element of sculpture is echoed in later works by British artists such as Barbara Hepworth and Henry Moore. A larger version was created for the exhibition New Movements in Art: Contemporary Work in England, held at the London Museum in Spring 1942. In his work, Gabo used time and space as construction elements and in them solid matter unfolds and becomes beautifully surreal and otherworldly. 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. This is a relatively simple construction by Gabo's standards, consisting of a plain steel rod affixed to a wooden base. 2022-10-21. Travelling back from Siberia to Bryansk on the two-day train journey, he claimed he "had awoken to life", and within a year he was working for an illegal group distributing literature for the Social Democratic Labour Party amongst workers. 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." The same year he was introduced to Miriam Israels, who he would marry in 1937, with Nicholson and Hepworth as witnesses. We would like to hear from you. This element of his work, initially developed to mould the mindset of the new Soviet citizen, influenced a whole paradigm within 20. As a young man in post-Revolutionary Russia, Gabo was closely associated with Constructivism, Set within the Perspex planes are opaquely colored, geometric floating shapes, and an open ring. 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". But this second construction in the series also reflects Gabo's new ambitions for his work after moving to the centre of global economic and cultural power after the Second World War, where wealthy patrons and lucrative commissions were more readily available. 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. de la Croix, Horst and Richard G. Tansey, Gabo, Naum. Constructed Head No. The Pevsners were a large, tightknit, patriarchal middle-class family, with a strong and charismatic father, Boris, and mother, Fanny. The Tate Gallery in London, which has the world's largest collection of his early works, is battling their chemical degradation. your own Pins on Pinterest 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 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. 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. 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'. Gabo was a fluent speaker and writer in German, French, and English in addition to his native Russian. 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. Gabo also began attending the art-history lectures of an influential tutor, Heinrich Wlfflin. Gabo died in Waterbury, Connecticut, in 1977. (German) Naum Gabo, 1890-1977, Annely Juda Fine Art, London, 1990. 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. 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 The auditoria would be hollow, curvilinear, shell-like forms, absorbing stress evenly across their entire surfaces. Many other migr artists were congregating in England at this time, including old friends: Oskar Kokoschka, Walter Gropius, Marcel Breuer, and Piet Mondrian. His older brother was fellow Constructivist artist Antoine Pevsner; Gabo changed his name to avoid confusion with him. Naum Gabo, Annely Juda Fine Art, London, 1999. The use of space in the work, in this case the central void enclosed by the surrounding Perspex, becomes a newly prominent feature. Gabo and Pevsner promoted the manifesto by staging an exhibition on a bandstand on Tverskoy Boulevard in Moscow and posted the manifesto on hoardings around the city. Jrn Merkert, Berlin: Berlinische Galerie, 1989, 158 pp. 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. 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. It is abstract, geometric, and created with industrial design methods. Gabo was born Naum Pevsner in the small Russian town of Bryansk, the sixth of seven brothers and sisters. Away from war-torn Europe, Gabo found artistic freedom and financial security. His ingenious extension of Cubist painting techniques into the realm of sculpture predicated much abstract sculpture of the following decades. October 30, 1997, By Christina Lodder / Gabo had no formal artistic training. 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. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. During 1912-13, Gabo made his first trips to Paris with his brother Antoine, to whom he was very close. Lit: 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. 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 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. Naum gabo artwork Rating: 4,3/10 1459 reviews. It is March 1950 and Naum Gabo (1890-1977), the world-famous sculptor, is stabbing a mahogany table leg. This was an adventurous approach to the concept of load-bearing in architecture, a job that would generally be performed by distinct components such as beams or ribs. Gabo saw the Revolution as the beginning of a renewal of human values. 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. The transparent planes build upon and reveal the sections below, suggesting emergence and growth. But when set in motion by an electric motor, the oscillations of the rod generate a delicately complex image of a freestanding, twisting wave. [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]. His first print was a wood engraving in a section of wood taken from a piece of furniture and printed onto a piece of toilet paper. The transparent planes build upon and reveal the sections below, suggesting emergence and growth. He would later remark that "if anyone made me a Jew, it was Hitler". Stainless steel - St Thomas's Hospital, London. 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). To a sibling he wrote: "I'm very sorry I've had to absorb such a mass of interesting impressions alone". 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 [8], Gabo pioneered the use of plastics, such as cellulose acetate, in his sculptures. Exh: Over the next two years, while living and working in the turbulent environment of post-Revolutionary Moscow, Gabo began to fall out with other artists, in a pattern that would become familiar. Gabo's health began to fail in his 80s, and he died in 1977 in Waterbury, Connecticut, following a long illness. As news of the February 1917 Revolution broke, Naum and Antoine returned home to Russia, in time for the Bolshevik coup of October 1917. The birth of a daughter, Nina Serafima, in 1941, also brought him out of a period of creative torpor. Again, this sculpture represents a creative departure from Gabo's previous work. To find any part of machinery was next to impossible". 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 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. 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. The piece now at Yale was bought by the Socit Anonyme from the artist c.1927-9. 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. 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. He then moved to Woodbury, Connecticut, USA. 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. 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. One of Gabo's most important discoveries was that empty space could be used as an element of sculpture. The work is composed of six meditations, in which Descartes attempts to establish a firm Find more prominent pieces of installation at Wikiart.org best visual art database. 2 is one of a set of early figurative works by Gabo now seen to have revolutionized sculpture. His tour was aborted early due to lack of funds and apparent feelings of loneliness. On this Wikipedia the language links are at the top of the page across from the article title. Gabo described himself as "making images to communicate my feelings of the world." Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.236-7, reproduced p.236, Celluloid and plastic, 5 5/8 x 3 3/4 x 3 3/4 (14.4 x 9.4 x 9.4), , Tate Gallery, November 1976-January 1977 (17, repr. The same year, he became a citizen of the United States, and in 1953 the family moved to Middlebury, Connecticut. He then moved to Woodbury, Connecticut, USA. Naum Gabo, born Naum Neemia Pevsner (5 August[O.S. Since the 1950s, Gabo had been reworking many of his sculptural designs as public installations - including a 25-metre sculpture for the Bijenkorf Department Store in Rotterdam, completed in 1957 - and this activity gathered pace towards the end of his life. 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. 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. Five thousand copies of the manifesto tract were displayed in Moscow streets in 1920. Gabos vision is imaginative and passionate. 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. Despite this, the European art market was struggling and Europe seemed increasingly unsafe. 2 2022-10-21. Find more prominent pieces of installation at Wikiart.org best visual art database. Light catches the transparent plastic, generating a shimmering, ethereal-seeming structure, and creating the illusion of motion as the viewer moves around the sculpture. It was here he created his so-called Constructed Heads, signing them as Gabo rather than Pevsner to distinguish himself from his artist brother Antoine, who had joined Naum and Alexei in Norway, and to indicate a new, revolutionary direction in his art. He made his first geometrical constructions while living in Oslo in 1915. 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. 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. The critic Herbert Read hailed it as 'the highest point ever reached by the aesthetic intuition of man'. Metal, wood and electric motor - Collection of the Tate, United Kingdom. ", "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. ", "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. 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. 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. They resumed late-night conversations begun in Paris earlier in the decade, on Constructivism, Neo-Plasticism, and the illusionistic space of the painting. The books and articles below constitute a bibliography of the sources used in the writing of this page. 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. 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. 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. As a young man in post-Revolutionary Russia, Gabo was closely associated with Constructivism, ", "Sculpture personifies and inspires the ideas of all great epochs. Gabo's migr status didn't help matters. 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