About this artwork. 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. 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. 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. Discover (and save!) The Tate Gallery, in Millbank, 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. 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. 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. 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. The books and articles below constitute a bibliography of the sources used in the writing of this page. Gabo had been in regular correspondence with Alfred H. Barr, founding director of the Museum of Modern Art in New York, later resulting in unrealized plans for a major exhibition of Gabo's work, and Gabo planned to resettle in the USA. [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]. 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. Pencil and india ink on paper - Shchusev State Museum of Architecture, Moscow. Gabo also began attending the art-history lectures of an influential tutor, Heinrich Wlfflin. Gabo's migr status didn't help matters. It is abstract, geometric, and created with industrial design methods. This move gave Naum the excuse he had craved to abandon his studies and concentrate on his art. 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. 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". 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. Gabo worked through various movements and ideas, eventually settling in the United States after the Second World War. His older brother was fellow Constructivist artist Antoine Pevsner; Gabo changed his name to avoid confusion with him. His work combined geometric abstraction with a dynamic organization of form in small reliefs and constructions, monumental public sculpture and pioneering kinetic works Naum Gabo, ein russischer Konstruktivist in Berlin 1922-1932: Skulpturen, Zeichnungen und Architekturentwrfe, Dokumente und Archive aus der Sammlung der Berlinischen Galerie, ed. Artwork page for Spiral Theme, Naum Gabo, 1941 When Spiral Theme was shown in wartime London, it was greeted with popular acclaim. He then moved to Woodbury, Connecticut, USA. 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. Not inscribed 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. Born in Russia, he had lived in Germany, Norway, France and then from 1936 to 1946 in England. The fact that it was intended as a model for a building exemplifies the Constructivist concern with giving art a functional purpose. "[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. 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. Column is a representative piece of constructivist sculpture. [1] 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. '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. 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. They were often projects for monumental public schemes, rarely achieved, in which sculpture and architecture came together. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. Using his engineering training, Gabo rejected traditional sculptural techniques of carving and moulding, instead using processes closer to architectural construction, building up his sculptures from interlocking components. Boris Pevsner owned a successful metal works and rolling mill, which supplied many of the railways around Russia. 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. 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." Hammer, Martin and Naum Gabo, Christina Lodder. 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. Indeed, his. 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. ", "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. Jrn Merkert, Berlin: Berlinische Galerie, 1989, 158 pp. 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. Artwork page for Model for Column, Naum Gabo, 19201 Many of Gabo's sculptures first appeared as tiny models. 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. Gabo was born Naum Pevsner in the small Russian town of Bryansk, the sixth of seven brothers and sisters. (London 1957), note between pls.25 and 26, and p.183. But the outbreak of war forced a change of plans. Tate Papers / ", "Sculpture personifies and inspires the ideas of all great epochs. 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 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. It manifests the spiritual rhythm and directs it. 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. Gabo's engineering training was key to the development of his sculptural work that often used machined elements. 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. 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. As a young man in post-Revolutionary Russia, Gabo was closely associated with Constructivism, Once again, in this late work, Gabo makes new strides in his ongoing quest to find ways of expressing volume independently of mass. 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. Instead, they remained in St Ives for seven years, meeting with other artists regularly at Adrian Stokes's coastal property to discuss, according to Gabo, "Cubism, Futurism, Constructivism, Eastern philosophies, and English marine traditions, behind the blackout curtains". This piece of sculpture by Naum Gabo is a model for a larger piece he completed in 1923 called Column. 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. 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 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. 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". 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 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. 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. 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. 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. 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. The two brothers decided that the exhibition should be accompanied by a proclamation of their artistic ambitions, The Realistic Manifesto. Gabo was a fluent speaker and writer in German, French, and English in addition to his native Russian. Gift of Collection Socit Anonyme 1941.474 Status: By appointment, Wurtele Study Center Culture: Constructed Head No. An elegant public artwork constructed from curved, stainless steel plates, designed for installation in a pool of water, Revolving Torsion represents the culmination of principles of Kinetic art first explored over 50 years earlier by Gabo's Kinetic Construction. Indeed, he felt that the combination of his Russian roots and his recent experience with Western architectural and scientific principles would stand him in good stead in the competition. [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. The model, like the later piece, is made of glass, plastic, and metal. This was not a happy period for him, politically or personally. This element of his work, initially developed to mould the mindset of the new Soviet citizen, influenced a whole paradigm within 20. Retrieved March 23, 2018. Two preoccupations, unique to Gabo, were his interest in representing negative space"released from any closed volume" or massand time. Column is a freestanding vertical tower made from two transparent, interlocking, rectangular planes that rise from a circular base of dark steel. 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. Gift of Collection Socit Anonyme 1941.474 Status: By appointment, Wurtele Study Center Culture: Model for 'Torsion', however, was eventually translated into a large fountain outside St Thomas' Hospital in London. Sep 22, 2013 - This Pin was discovered by Sesit. 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. Moscow was caught up in a tumultuous mix of revolutionary fervor and the strife of civil war. 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. Find more prominent pieces of installation at Wikiart.org best visual art database. One of Gabo's most important discoveries was that empty space could be used as an element of sculpture. 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. It is March 1950 and Naum Gabo (1890-1977), the world-famous sculptor, is stabbing a mahogany table leg. This meant he could incorporate empty spaces into his sculptures. Celluloid and plastic, 5 5/8 x 3 3/4 x 3 3/4 (14.4 x 9.4 x 9.4) Naum Gabo, Annely Juda Fine Art, London, 1999. [1] These include Constructie, a 25-metre (82ft) 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. 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. 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. He was part of the St Ives group in Cornwall, alongside Barbara Hepworth and Ben Nicholson. 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. See the renowned permanent collection and special exhibitions. 2023 The Art Story Foundation. Later versions of Kinetic Construction were more complex, incorporating a switch button, and built from more sophisticated materials. 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. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. 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. 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. In 1950, Gabo began wood-block printing, an activity which would occupy him until his death, generating a significant body of work. 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. 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. 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. As in thought, so in feeling, a vague communication is no communication at all," Gabo once remarked. All Rights Reserved, Gabo on Gabo: Texts and Interviews Paperback - April, 2002, Constructing Modernity: The Art & Career of Naum Gabo, Naum Gabo: The constructive idea; sculpture, drawings, paintings, monoprint, 'Absolute' Art Discussed Here by Naum Gabo, Naum Gabo and the Quandaries of the Replica, TateShots: Interview with the artist Naum Gabo's daughter, Naum Gabo & Antoine Pevsner - The Realistic Manifesto (Manifesto Extract, 1920), Transcript of interview of Naum Gabo by Gunnar Jespersen, Gabo believed that art should have an explicit and functional value in society. The ultimate winner was the pompous, neo-classical design of architect Boris Iofan. The appearance of the busts shifts and modulates constantly, based on viewing angle, lighting, and other ambient factors. 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. 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. ", "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. 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 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. Five thousand copies of the manifesto tract were displayed in Moscow streets in 1920. Ren Descartes' Meditations on First Philosophy is a philosophical treatise that was published in 1641. 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. 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