(German) Naum Gabo, 1890-1977, Annely Juda Fine Art, London, 1990. 2023 The Art Story Foundation. He later recalled that though such works had a profound effect on him, they "were all dead", and "it was nature that impressed him, not art". Lit: 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. Tate Papers / 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. Nonetheless, Gabo began a creative diary during this period, and involved himself in a diverse range of projects, including creating plans for domestic interiors, and even designing a car for the Jowett company in 1944 - though this plan fell through, with Jowett calling Gabo's concepts "radical but impractical". Mondrian was penniless when he arrived in London in 1938, and while Hepworth and Nicholson found him accommodation in Hampstead, Gabo supplied his companion from Abstraction-Cration with clothes, furniture, and food. Described by siblings as a "mischievous and daredevil character", he soon looked for radical ways of expressing himself. 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. Linear Construction in Space No. His older brother was fellow Constructivist artist Antoine Pevsner; Gabo changed his name to avoid confusion with him. He was also innovative in his works, using a wide variety of materials including the earliest plastics, fishing line, bronze, sheets of Perspex, and boulders. 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. Though Boris was Jewish, the siblings were brought up Christian through the influence of their Russian Orthodox grandmother, and Naum would distance himself from his Jewish roots for much of his life. 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. 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. Gabo was, in fact, involved in the collective conception of what would become known as Constructivism. 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. In a country starved of resources, Gabo had to rely on a friend who worked for Imperial Chemicals to provide these materials. He went on to produce a significant and varied body of graphic work, including much more elaborate and lyrical compositions, until his death in 1977. Gabo and Pevsner promoted the manifesto by staging an exhibition on a bandstand on Tverskoy Boulevard in Moscow and posted the manifesto on hoardings around the city. The dynamic arrangement of string-work and Perspex creates three-dimensional light patterns which transform as the viewer moves around the object. He then moved to Woodbury, Connecticut, USA. In the calmness at the still centre of even his smallest works, we sense the vastness of space, the enormity of his conception, time as continuous growth." Around this time, he also saw many Post-Impressionist and Cubist works in Russia, where the entrepreneur and art-collector Sergei Shchukin exhibited his European collection regularly. 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. To a sibling he wrote: "I'm very sorry I've had to absorb such a mass of interesting impressions alone". Gabo also became alienated quite quickly from the St. Ives School, shutting himself away in his studio for days, and arguing with Nicholson and Hepworth after he accused the latter of stealing his ideas. Gabo had lived through a revolution and two world wars; he was also Jewish and had fled Nazi Germany. It is March 1950 and Naum Gabo (1890-1977), the world-famous sculptor, is stabbing a mahogany table leg. 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. 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. 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. Over the years his exhibitions have generated immense enthusiasm because of the emotional power present in his sculpture. The critic Herbert Read hailed it as 'the highest point ever reached by the aesthetic intuition of man'. 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 This piece of sculpture by Naum Gabo is a model for a larger piece he completed in 1923 called Column. The Pevsners were a large, tightknit, patriarchal middle-class family, with a strong and charismatic father, Boris, and mother, Fanny. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet. Gabo grew up in a Jewish family of six children in the provincial Russian town of Bryansk, where his father Boris (Berko) Pevsner worked as an engineer. 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. In retrospect, works like Column set the tone for aspects of Gabo's work throughout the rest of his career. The mid-1930s was an important period for British Constructivism, and Gabo and his associates wanted the world to know that the avant-garde had shifted from its Parisian base. Drawing inspiration from his natural surroundings - a relatively new creative approach for Gabo - and from a series of photographs he had made that summer of light patterns reflected from shiny surfaces, Gabo created the first maquette for Spiral Theme. Constructed Head No. About this artwork. 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. He was part of the St Ives group in Cornwall, alongside Barbara Hepworth and Ben Nicholson. Because of his involvement in these intellectual debates, Gabo became a leading figure in Moscows avant garde, in post-Revolution Russia. 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. 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. Gabo began printmaking in 1950, when he was persuaded to try out the medium by William Ivins, a former curator of prints at the Metropolitan Museum of Modern Art, New York. Two preoccupations, unique to Gabo, were his interest in representing negative space"released from any closed volume" or massand time. 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. 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". 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. This was not a happy period for him, politically or personally. Gabo saw the Revolution as the beginning of a renewal of human values. As a young man in post-Revolutionary Russia, Gabo was closely associated with Constructivism, which sought to blur the boundaries between creative and functional processes. Find more prominent pieces of installation at Wikiart.org best visual art database. 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. Find more prominent pieces of installation at Wikiart.org best visual art database. Gabo described himself as "making images to communicate my feelings of the world." "Naum Gabo Artist Overview and Analysis". 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. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. Retrieved March 23, 2018. He made his first geometrical constructions while living in Oslo in 1915. Kinetic Construction was Gabo's first motorized sculpture, demonstrating his pioneering integration of engineering techniques and scientific principles into art. Content compiled and written by The Art Story Contributors, Edited and revised, with Summary and Accomplishments added by Greg Thomas, Kinetic Construction (Standing Wave) (1920), Submitted Design for Palace of Soviets: Plan of Main Hall and Section (1931), Linear Construction in Space No. 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. 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. 2022-10-21. 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. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. 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. They resumed late-night conversations begun in Paris earlier in the decade, on Constructivism, Neo-Plasticism, and the illusionistic space of the painting. Discover (and save!) 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. 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. The Work of Naum Gabo Nina & Graham Williams / Tate, London 2023. 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 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. Hammer, Martin and Naum Gabo, Christina Lodder. 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. 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. Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.236-7, reproduced p.236, Celluloid and plastic, 5 5/8 x 3 3/4 x 3 3/4 (14.4 x 9.4 x 9.4), , Tate Gallery, November 1976-January 1977 (17, repr. (German) Naum Gabo, 1890-1977, Annely Juda Fine Art, London, 1990. Naum Gabo: The Constructive Process, Tate Gallery, November 1976-January 1977 (17, repr.) 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. This subtle interplay is complemented by the interplay of shadows on the pool of water below. See the renowned permanent collection and special exhibitions. Spiral Theme also helped to ensure Gabo's reputation within Britain. The couple remained together for the remainder of Gabo's life, ironically supporting themselves initially with money from Miriam's ex-husband, as well as funds from occasional sales of Gabo's work. Gabo wrote his Realistic Manifesto, in which he ascribed his philosophy for his constructive art and his joy at the opportunities opened up by the Russian Revolution. 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. 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. Autumn 2007. 2 2022-10-21. May 7, 1938, By Martin Kemp / 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." The transparent planes build upon and reveal the sections below, suggesting emergence and growth. 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. 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. [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. Presented by the artist 1977 Norway was quiet and tranquil. 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. 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. "[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. 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. Gabo worked through various movements and ideas, eventually settling in the United States after the Second World War. The fact that it was intended as a model for a building exemplifies the Constructivist concern with giving art a functional purpose. 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". They were often projects for monumental public schemes, rarely achieved, in which sculpture and architecture came together. 2 2022-10-21. We would like to hear from you. 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. Gift of Collection Socit Anonyme 1941.474 Status: By appointment, Wurtele Study Center Culture: His ingenious extension of Cubist painting techniques into the realm of sculpture predicated much abstract sculpture of the following decades. 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. Meeting Trotsky on more than one occasion, during the early 1920s Gabo worked for the new Department of Fine Arts (IZO), dominated by abstracts artists at this time, which led him to work on a new art education program for schools, and on the single issue of the department Journal, Izo. In his work, Gabo used time and space as construction elements and in them solid matter unfolds and becomes beautifully surreal and otherworldly. These earliest constructions originally in cardboard or wood were figurative such as the Head No.2 in the Tate collection. It is abstract, geometric, and created with industrial design methods. His friend, the art critic Herbert Read, described it as expressing "the highest point ever reached by the aesthetic intuition of man". 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. Many of Gabo's sculptures first appeared as tiny models. your own Pins on Pinterest 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. 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. 1, here nylon filament is tightly wrapped around two curvilinear, intersecting plastic planes shaped like a seed pod, creating a shimmering, reflective central form. 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. 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. 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 grew up in a Jewish family of six children in the provincial Russian town of Bryansk, where his father owned a factory. See the renowned permanent collection and special exhibitions. His work combined geometric abstraction with a dynamic organization of form in small reliefs and constructions, monumental public sculpture and pioneering kinetic works Over the next two years, while living and working in the turbulent environment of post-Revolutionary Moscow, Gabo began to fall out with other artists, in a pattern that would become familiar. Ultimately, construction on the Palace of the Soviets was aborted by the German invasion of Russia in 1941, and never resumed. Gabo was a fluent speaker and writer in German, French, and English in addition to his native Russian. As news of the February 1917 Revolution broke, Naum and Antoine returned home to Russia, in time for the Bolshevik coup of October 1917. 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. Despite this, the European art market was struggling and Europe seemed increasingly unsafe. It is abstract, geometric, and created with industrial design methods. Naum Gabo, ein russischer Konstruktivist in Berlin 1922-1932: Skulpturen, Zeichnungen und Architekturentwrfe, Dokumente und Archive aus der Sammlung der Berlinischen Galerie, ed. After school in Kursk, Gabo entered Munich University in 1910, first studying medicine, then the natural sciences, and attended art history lectures by Heinrich Wlfflin. 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. It is March 1950 and Naum Gabo (1890-1977), the world-famous sculptor, is stabbing a mahogany table leg. It should be noticed that the work was conceived in the winter of 1920-1, as a tiny model, and executed in the winter of 1922-3 in its big form'. 2 (1949), "We renounce in sculpture, the mass as a sculptural element [.] We renounce the thousand-year-old delusion in art that held the static rhythms as the only elements of the plastic and pictorial arts. .1927-9. 1928, rebuilt 1938 Perspex and plastic on aluminum base 27 11.3 10 cm (10 5/8 4 7/16 3 15/16 in.) Pencil and india ink on paper - Shchusev State Museum of Architecture, Moscow. 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. 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. 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''. 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. 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. 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. Model for 'Column' was created in 1921 by Naum Gabo in Constructivism style. 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. [7] His earliest constructions such as Head No.2 were formal experiments in depicting the volume of a figure without carrying its mass. 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. de la Croix, Horst and Richard G. Tansey, Gabo, Naum. 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. Portland Stone - Collection of the Tate, United Kingdom. The piece now at Yale was bought by the Socit Anonyme from the artist. It was by this means that the young Naum became familiar with many of the industrial materials that would later inspire his work, while two of his older brothers pursued careers in engineering. 'I consider this Column the culmination of that search. 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. From an early age, Naum was strong-minded, rebellious, and politically driven. 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". 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. 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. It was first exhibited in 1920, to great critical acclaim. 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. Naum Gabo, ein russischer Konstruktivist in Berlin 1922-1932: Skulpturen, Zeichnungen und Architekturentwrfe, Dokumente und Archive aus der Sammlung der Berlinischen Galerie, ed. 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. (London 1957), note between pls.25 and 26, and p.183. Constructed Head No. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. Gabo's influence on modern art has been profound, though it is sometimes underemphasized in art history books. Gabo was born Naum Pevsner in the small Russian town of Bryansk, the sixth of seven brothers and sisters. Imaginative as Gabo was, his practicality lent itself to the conception and production of his works. Gabo's engineering training was key to the development of his sculptural work that often used machined elements. Gabo had no formal artistic training. 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. In 1976, Gabo's Revolving Torsion sculpture was unveiled by Queen Elizabeth II at the opening of St Thomas's Hospital in Central London. On this Wikipedia the language links are at the top of the page across from the article title. During his time in Germany, Gabo also worked with his brother, Antoine, who had settled in Paris in 1923, on the set for Sergei Diaghilev's ballet La Chatte (1927), and on other projects for Diaghilev's popular Ballet Russes company. Naum gabo artwork. The appearance of the busts shifts and modulates constantly, based on viewing angle, lighting, and other ambient factors. It is one of a number of works created during the early 1920s which demonstrate Gabo's departure from the early, figurative style of the Constructed Heads, and his movement towards a more pure abstraction. your own Pins on Pinterest ', Published in: This is a relatively simple construction by Gabo's standards, consisting of a plain steel rod affixed to a wooden base. 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.

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