He made a metal sculpture located in Rotterdam, Netherlands. Naum Gabo changed his name from Naum Neemia Pevsner to distinguish himself from his artist brother, Antoine Pevsner. While in Munich he attended lectures in art history by the celebrated scholar Heinrich Wölfflin. In his work, Gabo used time and space as construction elements and in them solid matter unfolds and becomes beautifully Caroline Collier, an authority on Gabo’s work, said, "The real stuff of Gabo’s art is not his physical materials, but his perception of space, time and movement. He used sheet metal and celluloid to build abstract likenesses of human beings; one example is his In 1917 after the Revolution, Gabo and Pevsner settled in Moscow. “Art is not concerned with the meditation about what is and how it came to be. Naum Gabo changed his name from Naum Neemia Pevsner to distinguish himself from his artist brother, Antoine Pevsner. As a student of engineering and... One of Gabo's most important discoveries was that empty space could be used as an element of sculpture. Gabo met Wassily Kandinsky and was enthusiastic over the exhibitions of the Blaue Reiter group, to which Kandinsky belonged.In 1913 Gabo went to Paris to see Pevsner, who had a studio there and who introduced him to friends involved in the modern movement in art. The Russian sculptor and designer Naum Gabo (1890-1977) was a pioneer of the constructivist art movement in Russia after the Revolution. There was a move, however, toward the use of art as propaganda to further the aims of the state. He completed his Construction Suspended in Space for the Baltimore Museum of Art in 1951. Following an important exhibition of his works in 1948 he began to receive commissions for public works. About the same time, he executed a wall relief for the U.S. Rubber Company in Rockefeller Center, New York City, and another one for the Baltimore, Maryland, museum. His work acquired architectural characteristics and monumentality. Accomplishments Gabo believed that art should have an explicit and functional value in society. 24 July] 1890 – 23 August 1977) (Hebrew: נחום נחמיה פבזנר), was an influential sculptor, theorist, and key figure in Russia's post-Revolution avant-garde and the subsequent development of twentieth-century sculpture. He demonstrated in his work the potentialities of plastics and threaded constructions. 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." Gabo by this time had developed a distinct style of his own. Gabo described himself as "making images to communicate my feelings of the world." His work combined geometric abstraction with a dynamic organization of form in small reliefs and constructions, monumental public … 24 July] 1890 – 23 August 1977) (Hebrew: נחום נחמיה פבזנר), was an influential sculptor, theorist, and key figure in Russia's post-Revolution avant-garde and the subsequent development of twentieth-century sculpture. He used this technique in his work through the mid-1970s.Gabo's attempt to explore the fourth dimension, kinetic effects, as put forth in his Further information on Gabo can be found in Jane Turner, ed., Encyclopedia of World Biography. 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 died in Waterbury, Connecticut, in 1977. Gabo as he eschewed the traditional notion that prints should be made in editions of identical impressions, instead preferring to use the monoprint format as a vehicle for experimentation.Gabo, Naum. Naum Gabo, KBE born Naum Neemia Pevsner (5 August [O.S. 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 their Realist Manifesto published in the form of a broadsheet in 1920 they stated that space and time are fundamental to life and that art aimed at being one with the essence of the real must accept this basic premise.
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