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. de la Croix, Horst and Richard G. Tansey, Gabo, Naum. 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. They resumed late-night conversations begun in Paris earlier in the decade, on Constructivism, Neo-Plasticism, and the illusionistic space of the painting. 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. Constructed Head No. 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. Born in Russia, he had lived in Germany, Norway, France and then from 1936 to 1946 in England. Artwork page for Model for Column, Naum Gabo, 19201 Many of Gabo's sculptures first appeared as tiny models. [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. Over the years his exhibitions have generated immense enthusiasm because of the emotional power present in his sculpture. Gabo died in Waterbury, Connecticut, in 1977. 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 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. (London 1957), note between pls.25 and 26, and p.183. Naum Gabo, Annely Juda Fine Art, London, 1999. 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. 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. 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. As in the earlier Linear Construction, space is contained without being filled, a new and elegant way of emphasizing volume independently of mass. Already, Bolshevik Russia was becoming hostile to artists of the avant-garde, as the grim paradigm of Socialist Realism appeared on the horizon. 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. Naum Gabo biography. His maquettes for that project, and the earliest version of Linear Construction 2, date from 1949; the version in the Tate Collection was specially constructed and donated by the artist in 1969, in memory of his friend Herbert Read (it was rebuilt in 1971). His ingenious extension of Cubist painting techniques into the realm of sculpture predicated much abstract sculpture of the following decades. 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 various versions of Linear Construction in Space No. He devised systems of construction which were not only used for his elegantly elaborate sculptures but were viable for architecture as well. [2][3][5] After working on a smaller scale in England during the war years (1936-1946), Gabo moved to the United States, where he received several public sculpture commissions, only some of which he completed. 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 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. Miriam had been married to a businessman, Cyril Franklin, with whom she had three children, but she ended her marriage shortly after meeting Gabo. 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. Then, in the summer of 1941, art patron Margaret Gardiner offered Gabo 25 to produce a work for her partner, the scientist John Bernal. 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. 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. The books and articles below constitute a bibliography of the sources used in the writing of this page. Many of Gabo's sculptures first appeared as tiny models. Not inscribed Gabo's engineering training was key to the development of his sculptural work that often used machined elements. As in thought, so in feeling, a vague communication is no communication at all," Gabo once remarked. On this Wikipedia the language links are at the top of the page across from the article title. .1927-9. As news of the February 1917 Revolution broke, Naum and Antoine returned home to Russia, in time for the Bolshevik coup of October 1917. Russian-American Sculptor, Designer, and Architect. 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. 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. (German) Naum Gabo, 1890-1977, Annely Juda Fine Art, London, 1990. 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. But when set in motion by an electric motor, the oscillations of the rod generate a delicately complex image of a freestanding, twisting wave. This group idealized the principles of engineering and architecture, and wanted art to have a similarly functional purpose. A larger version was created for the exhibition New Movements in Art: Contemporary Work in England, held at the London Museum in Spring 1942. Subtitled International Survey of Constructivist Art, Circle featured important critical statements as well as reproductions of key artworks, and reflected a cultural optimism that the impending conflict in Europe had yet to diminish. Gabos vision is imaginative and passionate. "[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. 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 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. The plan for Revolving Torsion was hatched following a visit from Norman Reid, director of the Tate Gallery, to Gabo's studio in the USA. 2022-10-21. 1928, rebuilt 1938 Perspex and plastic on aluminum base 27 11.3 10 cm (10 5/8 4 7/16 3 15/16 in.) Naum Gabo's structurally complex, mesmeric abstract sculptures cast a shadow over the whole of 20th-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 saw the Revolution as the beginning of a renewal of human values. Described by siblings as a "mischievous and daredevil character", he soon looked for radical ways of expressing himself. The model, like the later piece, is made of glass, plastic, and metal. At the same time, he was working on a series of increasingly abstract sculptural constructions. This piece of sculpture by Naum Gabo is a model for a larger piece he completed in 1923 called Column. 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. 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 St. Ives, Cornwall had been home to a large community of artists since the 1920s, including Bernard Leach, Adrian Stokes, and the fisherman and artistic savant Alfred Wallis. He would later remark that "if anyone made me a Jew, it was Hitler". 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. Artists such as Alexander Calder, Jean Tinguely, Victor Vasarely, and Bridget Riley all worked in the wake of Gabo's pioneering experiments. 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. 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. Exh: Gabo described himself as "making images to communicate my feelings of the world." Lost in the Detail: Naum Gabo's Monoprints. [8], Gabo pioneered the use of plastics, such as cellulose acetate, in his sculptures. Stainless steel - St Thomas's Hospital, London. 2023 The Art Story Foundation. Like lots of Gabo's later, large-scale public works, Revolving Torsion is the final realization of a theme previously expressed across a range of scales and materials, in this case as various plastic and metal models created from the late 1920s onwards: Model for Torsion (circa 1928), Torsion: Project for a Fountain (1960-64), etcetera. 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. He lacked confidence in his art, and there were tensions and jealousy between him and his brother. As in thought, so in feeling, a vague communication is no communication at all," Gabo once remarked. 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. 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. Kinetic Construction was Gabo's first motorized sculpture, demonstrating his pioneering integration of engineering techniques and scientific principles into art. Gabo's other concern as described in the Realistic Manifesto was that art needed to exist actively in four dimensions including time. See the renowned permanent collection and special exhibitions. 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. This move gave Naum the excuse he had craved to abandon his studies and concentrate on his art. About this artwork. The birth of a daughter, Nina Serafima, in 1941, also brought him out of a period of creative torpor. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). In 1912 Gabo transferred to an engineering school in Munich where he discovered abstract art and met Wassily Kandinsky and in 1913-14 joined his brother Antoine (who by then was an established painter) in Paris. Gabo was a fluent speaker and writer in German, French, and English in addition to his native Russian. 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. The exactness of form leads the viewer to imagine journeying into, through, over and around 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. 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. 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. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. In 1912 Gabo transferred to an engineering school in Munich where he discovered abstract art and met Wassily Kandinsky and in 1913-14 joined his brother Antoine (who by then was an established painter) in Paris. Gabo 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. He was part of the St Ives group in Cornwall, alongside Barbara Hepworth and Ben Nicholson. Column is a representative piece of constructivist sculpture. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. A sojourn in Paris from 1911 to 1914 introduced him to cubism and futurism, two radical new approaches to making art. 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. 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. 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. In Germany Gabo came into contact with the artists of the de Stijl and taught at the Bauhaus in 1928. In 1946 Gabo and his wife and daughter emigrated to the United States, where they resided first in Woodbury, and later in Middlebury, Connecticut. By working with the technical precision of an engineer or architect, and by illustrating new scientific concepts, Gabo predicted the functionalist aesthetic of the nascent Constructivist movement - the work of Alexander Rodchenko and others - and of Concrete Art, Kinetic Art, and other post-Constructivist movements of the mid-to-late-20th century. Model for 'Column' was created in 1921 by Naum Gabo in Constructivism style. 1 (1942-43), Linear Construction in Space No. In fact, the element of movement in Gabos sculpture is connected to a strong rhythm, more implicit and deeper than the chaotic patterns of life itself. During his travels to Paris in 1912-13, Gabo had seen Picasso and Braque's paintings - the artists were still in their so-called Analytical Cubis" phase - and in Norway he began to apply similar concepts of breaking up the picture plane into three-dimensional work - consider Picasso's Woman with Pears (1909), for example. Artwork page for Spiral Theme, Naum Gabo, 1941 When Spiral Theme was shown in wartime London, it was greeted with popular acclaim. 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. Because of his involvement in these intellectual debates, Gabo became a leading figure in Moscows avant garde, in post-Revolution Russia. See the renowned permanent collection and special exhibitions. 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. The full text of the article is here , Two Cubes (Demonstrating the Stereometric Method), Model for 'Construction in Space, Suspended', Construction in Space with Crystalline Centre, Model for 'Construction in Space 'Two Cones''. Five thousand copies of the manifesto tract were displayed in Moscow streets in 1920. 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. 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. A reverse structure, and a kind of companion piece, to Linear Construction in Space No. Despite this, the European art market was struggling and Europe seemed increasingly unsafe. He then moved to Woodbury, Connecticut, USA. This piece of sculpture by Naum Gabo is a model for a larger piece he completed in 1923 called Column. About this artwork. One of Gabo's most important discoveries was that empty space could be used as an element of sculpture. Discover (and save!) The critic Herbert Read hailed it as 'the highest point ever reached by the aesthetic intuition of man'. 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. During 1912-13, Gabo made his first trips to Paris with his brother Antoine, to whom he was very close. Gabo's influence on modern art has been profound, though it is sometimes underemphasized in art history books. 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. 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 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. Tate Papers / 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. Born in Russia, he had lived in Germany, Norway, France and then from 1936 to 1946 in England. Moscow was caught up in a tumultuous mix of revolutionary fervor and the strife of civil war. 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. Gift of Collection Socit Anonyme 1941.474 Status: By appointment, Wurtele Study Center Culture: Gabo grew up in a Jewish family of six children in the provincial Russian town of Bryansk, where his father owned a factory. Retrieved March 23, 2018. Artwork page for Spiral Theme, Naum Gabo, 1941 When Spiral Theme was shown in wartime London, it was greeted with popular acclaim. In retrospect, works like Column set the tone for aspects of Gabo's work throughout the rest of his career. The ultimate winner was the pompous, neo-classical design of architect Boris Iofan. base: 0.3 cm (1/8 in.) Naum Gabo Model for Column 19201 The Work of Naum Gabo Nina & Graham Williams / Tate, London 2023 License this image Not on display Artist Naum Gabo 18901977 Medium Plastic (cellulose nitrate) Dimensions Object: 143 95 95 mm Collection Tate Acquisition Presented by the artist 1977 Reference T02167 Display caption Catalogue entry 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. The Tate Gallery in London, which has the world's largest collection of his early works, is battling their chemical degradation. With the onset of World War I, Gabo and his younger brother Alexei, also based in Germany, fled via Copenhagen to neutral Norway, partly to avoid serving in the Imperial Army, and partly because, as Russian nationals, they were suddenly pariahs in their new home. Gabo's striking designs for the Palace constitute one of his most important creative works, and are a remarkable achievement given his lack of architectural training. 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. 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. Perspex and nylon - Collection of the Tate, United Kingdom. Naum gabo artwork Rating: 4,3/10 1459 reviews. 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". 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 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. The dynamic arrangement of string-work and Perspex creates three-dimensional light patterns which transform as the viewer moves around the object. Naum gabo artwork. 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. Gabo was born Naum Pevsner in the small Russian town of Bryansk, the sixth of seven brothers and sisters. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. Due to the dearth of exhibitions and sales in war-time Britain, Gabo's time in England was not commercially successful, though he always looked back on it fondly. Later versions of Kinetic Construction were more complex, incorporating a switch button, and built from more sophisticated materials. A sojourn in Paris from 1911 to 1914 introduced him to cubism and futurism, two radical new approaches to making art. 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. The central abstract form completes a full rotation every 10 minutes, as plumes of water emerge with varying pressure from 140 holes on the steel wings of the fountain, assuming the form of curved planes. Gabo became acquainted with the multitude of Russian artists who had returned after the Revolution, engaged in the collective frenzy of attempting to express the spirit of Soviet society in art. Gabo contributed to the Agit-prop open air exhibitions and taught at 'VKhUTEMAS' the Higher Art and Technical Workshop, with Tatlin, Kandinsky and Rodchenko. But the outbreak of war forced a change of plans. [7] His earliest constructions such as Head No.2 were formal experiments in depicting the volume of a figure without carrying its mass. Less publicly, he derided Tatlin for "playing around with engineering forms and materials". 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. 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. Constructed Head No. 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. [Internet]. 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. Many of Gabo 's most important discoveries was that empty Space could be used as element... 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