Naum Gabo

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Gabo, Naum

(noum gä`bō), 1890–1977, Russian sculptor, architect, theorist, and teacher, brother of Antoine PevsnerPevsner, Antoine
, 1886–1962, Russian sculptor and painter. He was influenced by cubism while in Paris in 1911 and 1913. During World War I he was in Norway with his brother Naum Gabo. They returned to Moscow after the Russian Revolution.
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. Gabo lived in Munich and Norway until the end of the revolution, when he returned to Russia. With Pevsner he wrote the Realist Manifesto (1920), which proposed that new concepts of time and space be incorporated into works of art and that dynamic form replace static mass. His sculptural experiments with constructivismconstructivism,
Russian art movement founded c.1913 by Vladimir Tatlin, related to the movement known as suprematism. After 1916 the brothers Naum Gabo and Antoine Pevsner gave new impetus to Tatlin's art of purely abstract (although politically intended) constructions.
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, a movement he helped found, were often transparent, geometrical abstractions composed of plastics and other materials. Gabo's art conflicted with Soviet art directives. In 1922 he left Moscow for Berlin where he taught at the BauhausBauhaus
, artists' collective and school of art and architecture in Germany (1919–33). The Bauhaus revolutionized art training by combining the teaching of classic arts with the study of crafts.
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, later moving to England and then to the United States. In 1957 he executed a huge public monument in Rotterdam.


See his Gabo (1957) and Of Divers Arts (1962); study by R. Olson and A. Chanin (1948).

Gabo, Naum (b. Neemia Pevsner)

(1890–1977) sculptor; born in Bryansk, Russia. He studied medicine, engineering, and art in Munich (1910–14), then changed his name to distinguish himself from his artist brother, Antoine Pevsner. He and his brother created theories of spatial sculpture in Scandinavia during World War I and published the Realist Manifesto (1920). Naum lived in Berlin (1922–32), Paris (1932–35), and London (1939–46) before settling in Connecticut (1946). He was noted for his constructed sculptures, such as Linear Construction (1943).
References in periodicals archive ?
Its starting point is a series of letters from July 1944, between Naum Gabo, who became friends with Ede in the 1920s, and Herbert Read, in which Gabo writes of the continued relevance and purpose of art in troubled times, his thoughts encapsulated poignantly in one particular sentence: 'I try to guard in my work the image of the morrow we left behind us in our memories and foregone aspirations, and to remind us that the image of the world can be different.
Martin Hammer and Christina Lodder, Constructing Modernity: The Art and Career of Naum Gabo (New Haven and London: Yale University Press, 2000), 19.
Naum Gabo (1890-1977) possessed an astonishing consistency of vision.
En las sumas es evidente que se quedo Naum Gabo, como lo revela esta Escultura en vidrio de 1989.
A handful of exiles--among them Naum Gabo and El Lissitzky--influenced such figures as Laszlo Moholy-Nagy, Kurt Schwitters, and Joaquin Torres-Garcia, ensuring the lasting impact of the movement, but within Russia it was crushed.
The layering of the glaze defines a pattern of rectangles and stripes as controlled and refined as any relief by Ben Nicholson or Naum Gabo.
We viewed sculptures by David Smith, Naum Gabo, Bernard Rosenthal, Richard Stankiewicz, Jasper Johns, Leo Castelli, and Nancy Graves.
Sadly for Schwitters, if he had only chosen to come straight to London in 1937 he would have found a circle of avant-garde European friends such as Walter Gropius, Laszlo Moholy-Nagy and Naum Gabo, but by the time he arrived all had left, either for America or Cornwall.
It is good to invoke Naum Gabo as a possible two-party candidate, but it would have been better to spend Uitz space on the Jewish sculptor's overlooked appeal to the icon in his Of Divers Arts (1959).
As the design developed, Calatrava drew inspiration from the linear sculptural constructions of Naum Gabo and the spatial experiments of Antoine Pevsner.
Naum Gabo, the Russian theorist of the Constructivist movement, wrote, "We call ourselves constructors.
As early as 1937 the architect John Leslie Martin could be found arguing in Circle, the avant-garde casebook he edited with Ben Nicholson and Naum Gabo, that the 'new aesthetic' which would provide the subjects to match new developments of modern form and technique in the visual and plastic arts was to be sought 'in the motor-car and the aeroplane, in the steel bridge and the line of electric pylons.