Naum Gabo

Also found in: Dictionary, Wikipedia.

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.
..... Click the link for more information.
. 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.
..... Click the link for more information.
, 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.
..... Click the link for more information.
, 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).

The Columbia Electronic Encyclopedia™ Copyright © 2013, Columbia University Press. Licensed from Columbia University Press. All rights reserved.

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).
The Cambridge Dictionary of American Biography, by John S. Bowman. Copyright © Cambridge University Press 1995. Reproduced with permission.
References in periodicals archive ?
(5.) Martin Hammer and Christina Lodder, Constructing Modernity: The Art and Career of Naum Gabo (New Haven and London: Yale University Press, 2000), 19.
Hepworth and Nicholson were joined by Naum Gabo and St Ives became known for its abstract avant-garde art which was both international in outlook but strongly rooted in the locality.
I was keen to visit the Tate, which this season features an exhibition by Richard Long, Kosho Ito and Russian-born Naum Gabo who moved to Cornwall in 1939.
Some of the more important exiles were Antoine Pevsner, Naum Gabo and Alexander Rodchenko.
It was there that he became interested in avant-garde artists such as Piet Mondrian and Naum Gabo.
"Naum Gabo: Pioneer of Abstract Sculpture" at PaceWildenstein, New York.
Herwitz shows how constructivism and especially Naum Gabo's sculpture strive to embody a Cartesian vision by rendering transparent - clear and distinct - the guiding principle of their own construction.
Kettle's Yard is known as a leading centre of modern British art, but it is in fact thoroughly international, reflecting in part the extended network of Constructivist artists like Naum Gabo whom Ede got to know through British exponents such as Ben Nicholson and Barbara Hepworth.
So, too, the history of Constructivism as later told by Naum Gabo and propagated by critics (including Greenberg)--which Buchloh, in his 1986 essay "Cold War Constructivism," diagrams as an attempt by the Soviet emigre artist to "supply the radical aesthetic goods" of Constructivist practice "without any of the political strings originally attached."
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. Here the simplicity and purity of Japanese tradition meets Modernist sensibility.
The purpose of the show was to establish Calatrava's important link as an artist, mainly as a sculptor whose works echo revolutionary aspects of Brancusi's polished forms as well as of Naum Gabo's experiments with torsion and tension.