Naum Gabo Quotes

Naum Gabo, 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. 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. 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-Création group. Two preoccupations, unique to Gabo, were his interest in representing negative space—"released from any closed volume" or mass—and time. He famously explored the former idea in his Linear Construction works —used nylon filament to create voids or interior spaces as "concrete" as the elements of solid mass—and the latter in his pioneering work, Kinetic Sculpture , often considered the first kinetic work of art.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. 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." Gabo held a utopian belief in the power of sculpture—specifically abstract, Constructivist sculpture—to express human experience and spirituality in tune with modernity, social progress, and advances in science and technology. After working on a smaller scale in England during the war years , Gabo moved to the United States, where he received several public sculpture commissions, only some of which he completed. These include Constructie, an 81-foot commemorative monument in front of the Bijenkorf Department Store in Rotterdam, and Revolving Torsion, a large fountain outside St Thomas Hospital in London. The Tate Gallery, 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. Work by Gabo is also included at Rockefeller Center in New York City and The Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY. Wikipedia  

✵ 5. August 1890 – 23. August 1977
Naum Gabo photo
Naum Gabo: 23   quotes 1   like

Famous Naum Gabo Quotes

“Science looks and observes and art see and foresees. Every great scientist has experienced a moment when the artist in him saved the scientist.”

Naum Gabo (1937) "Editorial", p. 9
1936 - 1977, Circle: International Survey of Constructive Art, 1937

Naum Gabo Quotes about art

“Either build functional houses and bridges or create pure art or both. Don't confuse one with the other. Such art is not pure constructive art, but merely an imitation of the machine.”

quote, 1919; as cited in: Ruth Latta (1948) Naum Gabo. Museum of Modern Art (New York, N.Y.), p. 18
Here Gabo publicly criticized Tatlin's design for the 'Monument to the Third International' (1919)
1918 - 1935

“Art and Science are two different streams which rise from the same creative force and flow into the same ocean of the common culture, but the currents of these two streams flow in different directions.”

Quote of Naum Gabo (1957), as cited in: Gabo: Construction, Sculpture, Paintings, Drawings, Engravings. p. 164.
1936 - 1977

Naum Gabo Quotes

“[ Constructivism is] not as a tool or even a specific method, but rather as a perfect union of the coming state and the movement's 'spiritual' aims.”

Source: 1936 - 1977, Circle: International Survey of Constructive Art, 1937, p. 116 as cited in: Melinda Baldwin (2012) " 'A review of Scientific Moderns', by Boris Jardine http://dissertationreviews.org/archives/1327" in dissertationreviews.org.

“.. adding Space perception to the perception of Masses, emphasizing it and forming it, we enrich the expression of Mass.... through the contrast between them whereby Mass retains its solidity and Space its extension.”

Quoted in: 'Naum Gabo, Construction: Stone with a Collar', by Jacky Klein, Aug. 2002; Tate, London http://www.tate.org.uk/art/artworks/gabo-construction-stone-with-a-collar-t06975
1936 - 1977, Sculpture: Carving and Construction in Space' (1937)

“It needs a poet like Schwitters to show us that unobserved elements of beauty are strewn and spread all around us and we can find them everywhere in the portentous as well as in the insignificant, if only we care to look, to choose and to fit them into a comely order.”

Attributed to Gabo in: Andrew Lambirth (2013) " Finding beauty in junk http://www.spectator.co.uk/arts/exhibitions/8839071/finding-beauty-in-junk/" in: The Spectator 9 February 2013
1936 - 1977

“The growth of new ideas is more difficult and lengthy the deeper they are rotted in life. Resistance to them is the more obsitnate and exasperated the more persistent their growth is.”

Quote in: Herschel Browning Chipp (1968) Theories of Modern Art. p. 330
1936 - 1977, Sculpture: Carving and Construction in Space' (1937)

“The shapes we are creating are not abstract, they are absolute.”

Quote of Naum Gabo (1937) Sculpture and Construction in Space, p. 109
1936 - 1977, Circle: International Survey of Constructive Art, 1937

“He (Piet Mondrian) couldn't look after himself properly. He was terrible [sic] thin, and seemed to live mostly on currants and vegetable stew, because he followed the Haye diet.”

Quote of Naum Gabo (1962), as cited in: Carel Blotkamp, Piet Mondrian (1994) Mondriaan: destructie als kunst
1936 - 1977

“We take four planes and we construct with them the same volume as of four tons of mass.”

quote, 1920; from Tate Modern, London: Naum Gabo http://www.tate.org.uk/art/artworks/gabo-head-no-2-t01520
A method known as 'stereometric construction' was central to Gabo's work, by which form was achieved through the description of space rather than the establishment of mass (Tate Modern)
1918 - 1935

“Quotes from: Leslie Martin, Ben Nicholson and N. Gabo (eds.) Circle: International Survey of Constructive Art.”

London: Faber and Faber
1936 - 1977, Circle: International Survey of Constructive Art, 1937

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