', Published in: [Internet]. The appearance of the busts shifts and modulates constantly, based on viewing angle, lighting, and other ambient factors. 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. Then, in the summer of 1941, art patron Margaret Gardiner offered Gabo 25 to produce a work for her partner, the scientist John Bernal. Model for 'Column' was created in 1921 by Naum Gabo in Constructivism style. 2 is a figurative bust, one of four similar works that characterize Gabo's early career, created during his period of refuge in Norway during World War One. As in the earlier Linear Construction, space is contained without being filled, a new and elegant way of emphasizing volume independently of mass. The transparent planes build upon and reveal the sections below, suggesting emergence and growth. Constructed Head No. Gabo contributed to the Agit-prop open air exhibitions and taught at 'VKhUTEMAS' the Higher Art and Technical Workshop, with Tatlin, Kandinsky and Rodchenko. 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. Gabos acute awareness of turmoil sought out solace in the peacefulness that was so fully realized in his ideal art forms. He made his first geometrical constructions while living in Oslo in 1915. Artwork page for Model for Column, Naum Gabo, 19201 Many of Gabo's sculptures first appeared as tiny models. ", "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. Gabo was a fluent speaker and writer in German, French, and English in addition to his native Russian. The ultimate winner was the pompous, neo-classical design of architect Boris Iofan. It was first exhibited in 1920, to great critical acclaim. 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. 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". The Pevsners were a large, tightknit, patriarchal middle-class family, with a strong and charismatic father, Boris, and mother, Fanny. 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. Less publicly, he derided Tatlin for "playing around with engineering forms and materials". 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. Gabo worked through various movements and ideas, eventually settling in the United States after the Second World War. The two interlocking vertical planes in this piece, for example, generate a rectangular form without creating a solid rectangle. 2 was Gabo's first significant work after his move to the USA in 1946. Artists such as Alexander Calder, Jean Tinguely, Victor Vasarely, and Bridget Riley all worked in the wake of Gabo's pioneering experiments. The work is composed of six meditations, in which Descartes attempts to establish a firm During this period he realised a design for a fountain in Dresden (since destroyed). The Tate Gallery in London, which has the world's largest collection of his early works, is battling their chemical degradation. Metal, wood and electric motor - Collection of the Tate, United Kingdom. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. Shortly afterwards, having been offered 25 to make a small construction as a present for a friend, Gabo produced the first version of Spiral Theme, an important work which would take him in a new artistic direction, and lead to a renewed engagement with family and friends. "[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. 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". 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. Naum Gabo, KBE born Naum Neemia Pevsner (5 August[O.S. 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. From an early age, Naum was strong-minded, rebellious, and politically driven. He then moved to Woodbury, Connecticut, USA. 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. 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. Autumn 2007. These earliest constructions originally in cardboard or wood were figurative such as the Head No.2 in the Tate collection. 'I consider this Column the culmination of that search. 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. Foregoing the superficial abstractions of the Cubists and Futurists, and rejecting propagandist realism, the new art would use sculptural forms to present "depth" (empty space) rather than mass, and generate "kinetic rhythms" which would represent the element of time as well as the element of space. 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. The model, like the later piece, is made of glass, plastic, and metal. 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"'. your own Pins on Pinterest During this period the reliefs and construction became more geometric and Gabo began to experiment with kinetic sculpture though the majority of the work was lost or destroyed. It is March 1950 and Naum Gabo (1890-1977), the world-famous sculptor, is stabbing a mahogany table leg. 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. He would later remark that "if anyone made me a Jew, it was Hitler". In Germany Gabo came into contact with the artists of the de Stijl and taught at the Bauhaus in 1928. This meant he could incorporate empty spaces into his sculptures. Artist: Naum Gabo, American, born Russia, 18901977 Model of the Column (formerly Model for Glass Fountain) ca. 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. 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 books and articles below constitute a bibliography of the sources used in the writing of this page. 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 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. They have commissioned replicas of some sculptures to preserve a visual record of their appearances.[9]. Gabo saw the Revolution as the beginning of a renewal of human values. 2022-10-21. See the renowned permanent collection and special exhibitions. Linear Construction in Space No. [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. 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. [7] His earliest constructions such as Head No.2 were formal experiments in depicting the volume of a figure without carrying its mass. But the outbreak of war forced a change of plans. Born in Russia, he had lived in Germany, Norway, France and then from 1936 to 1946 in England. In generating the impression of volume in empty space, Gabo was responding to contemporary scientific theories stressing the "disintegration between solids and surrounding space". His older brother was fellow Constructivist artist Antoine Pevsner; Gabo changed his name to avoid confusion with him. Boris Pevsner owned a successful metal works and rolling mill, which supplied many of the railways around Russia. "Inspiration: a functional approach to creative practice", "V&A conservators race to preserve art and design classics in plastic", https://en.wikipedia.org/w/index.php?title=Naum_Gabo&oldid=1133235691, Honorary Knights Commander of the Order of the British Empire, Members of the American Academy of Arts and Letters, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License 3.0, This page was last edited on 12 January 2023, at 20:48. About this artwork. 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. 1 (1942-43), Linear Construction in Space No. The two brothers decided that the exhibition should be accompanied by a proclamation of their artistic ambitions, The Realistic Manifesto. 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. 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. 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. Away from war-torn Europe, Gabo found artistic freedom and financial security. 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. 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. Two years later, he defied his father's wishes by transferring to study maths, natural and applied sciences, engineering, and, finally, philosophy. See the renowned permanent collection and special exhibitions. His command of several languages contributed greatly to his mobility during his career. Gabo sent a maquette to London, where Reid located a sponsor to fund the construction of the final piece and find a suitable location. 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. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. Showing his openness to new techniques and influences, Gabo inscribed dynamic rhythms into the surfaces of stone - his new-found fascination with this material would occupy him until his death. 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. The Cornish coastline was a source of emotional solace; since moving to St. Ives, the Gabos had collected shells from the nearby beaches. Born in Russia, he had lived in Germany, Norway, France and then from 1936 to 1946 in England. 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 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. The fact that it was intended as a model for a building exemplifies the Constructivist concern with giving art a functional purpose. Public response to the work in the London Museum show was similarly positive, its lush organic forms perhaps providing a similar form of solace to a public in the grips of war as the shells of Carbis Bay had to its creator. 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 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. 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. [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]. Retrieved March 23, 2018. Gabo was associated briefly with the Bauhaus School - then the hub of European Constructivism - lecturing and writing for their journal. (German) Naum Gabo, 1890-1977, Annely Juda Fine Art, London, 1990. Naum Gabo, ein russischer Konstruktivist in Berlin 1922-1932: Skulpturen, Zeichnungen und Architekturentwrfe, Dokumente und Archive aus der Sammlung der Berlinischen Galerie, ed. About this artwork. Nature / 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. It is March 1950 and Naum Gabo (1890-1977), the world-famous sculptor, is stabbing a mahogany table leg. 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". 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. Gift of Collection Socit Anonyme 1941.474 Status: By appointment, Wurtele Study Center Culture: He was part of the St Ives group in Cornwall, alongside Barbara Hepworth and Ben Nicholson. Naum Gabo, born Naum Neemia Pevsner (5 August[O.S. A sojourn in Paris from 1911 to 1914 introduced him to cubism and futurism, two radical new approaches to making art. Gabo's influence on modern art has been profound, though it is sometimes underemphasized in art history books. "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. 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. 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 same year, he became a citizen of the United States, and in 1953 the family moved to Middlebury, Connecticut. 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. During 1912-13, Gabo made his first trips to Paris with his brother Antoine, to whom he was very close. As news of the February 1917 Revolution broke, Naum and Antoine returned home to Russia, in time for the Bolshevik coup of October 1917. 2022-10-21. 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". 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. 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 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. Gabo died in Waterbury, Connecticut, in 1977. 2023 The Art Story Foundation. To find any part of machinery was next to impossible". 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. Jrn Merkert, Berlin: Berlinische Galerie, 1989, 158 pp. 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 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. 1928, rebuilt 1938 Perspex and plastic on aluminum base 27 11.3 10 cm (10 5/8 4 7/16 3 15/16 in.) At the same time, Gabo's interest in transparent materials like glass and plastic - which was profound and enduring from this period onwards - reflected his ongoing fascination with depicting volume independently of mass. 1, here nylon filament is tightly wrapped around two curvilinear, intersecting plastic planes shaped like a seed pod, creating a shimmering, reflective central form. Together they visited the Salon des Indpendants, exposing the young Gabo to the work of Picasso, Braque, Kandinsky, Delaunay, Leger, and others, and to the Cubist and Futurist ideas exploding onto the avant-garde scene. Moscow was caught up in a tumultuous mix of revolutionary fervor and the strife of civil war. 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). 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. 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. His scientific training would be put to good use in his later sculptural constructions, and it was in Munich that he became fascinated with Einstein and Bergson's radical theories of time. Many other migr artists were congregating in England at this time, including old friends: Oskar Kokoschka, Walter Gropius, Marcel Breuer, and Piet Mondrian. Once again, in this late work, Gabo makes new strides in his ongoing quest to find ways of expressing volume independently of mass. Portland Stone - Collection of the Tate, United Kingdom. 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. 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. base: 0.3 cm (1/8 in.) [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 was not a happy period for him, politically or personally. 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. 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. , to whom he was very close, based on viewing angle lighting... 1 ( 1942-43 ), Linear Construction in Space No contact with the artists of the sources used the... Practice of scoring lines onto Perspex constructions while living in Oslo in 1915 in Oslo 1915... 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