A study of the life of the artist naum gabo

Early life[ edit ] Gabo grew up in a Jewish family of six children in the provincial Russian town of Bryanskwhere his father owned a factory. His older brother was fellow Constructivist artist Antoine Pevsner ; Gabo changed his name to avoid confusion with him. Gabo was a fluent speaker and writer in German, French, and English in addition to his native Russian.

A study of the life of the artist naum gabo

A study of the life of the artist naum gabo

Mira Schendel is recognised as one of the most significant Latin American artists of the late 20th century. Her work, which encompasses a broad range of media, is underpinned by a philosophical and spiritual interest in the formal properties of language. The works by Schendel presented here include rare examples of her paintings, drawings, monotypes and examples from the Dactiloscrito series.

A study of the life of the artist naum gabo

Together, they illustrate the varied and on-going fascination that the artist held with the linguistic form. The monotypes were produced in the s and considered most experimental for their time.

The artist insisted that the finished drawings were shown suspended and encased between two sheets of Perspex. As such, the gestural marks, handwritten words and phrases appear to hover in space, freeing the written word from the constraints of its two dimensional plane.

The multi-national group of artists brought together here in conversation with Schendel, share a similarly considered approach to art making.

Inspired by the intellectual debates that characterised much of the mid s, particularly the emergence of semiology as a field of study, these artists evoked numerous media to explore and attempt to understand the rapid social change unfolding around them.

Their common mode was largely abstract in form, with colour and considered mark-making providing the apparatus with which to articulate a keen conceptual awareness.

Repetition of form, particularly within a minimalist aesthetic, is particularly prevalent in her work and can be observed just as keenly elsewhere.

Each of his paintings list row after row of hand written numbers, on muted backgrounds. Agnes Martin, another female artist whose work was of significant influence on the field of minimalism, is represented here by one of her early oil and ink on linen paintings. Here, bursts of orange colour are rigidly constrained into regular squares that rest against diagonal striations of varying thicknesses.

Elsewhere, sculptures by Naum Gabo and Sol LeWitt further illustrate the artistic endeavour to translate concept into abstract form. It lays bare the skeleton of the cube and in doing so offers a moment to contemplate the shape so pivotal to much of his practice and indeed the shape that influenced much of his own personal theory of visual signs.

The undulating Perspex exterior provides a transparent framework through which to view the central crystal form. As such, there is the possibility for an infinite number of perspectives of the work. An absorption with transparency became equally important to Schendel over the years.

Her own use of Perspex became more pronounced as she endeavoured to offer a multitude of viewpoints and meanings to be taken from her work. From the presentation of her monotypes through which the translucent nature of the rice paper was highlighted, to the sculptures from her Cadernos series where rice paper was sandwiched between acrylic leaves, Schendel was engaged in a constant battle to free her work from the constraints of its two dimensional surface.

This concern extended to the exhibition of her work, with Schendel often giving instruction for pieces to be hung in front and on top of one another, leading to a layering of both imagery and meaning. The exhibition as a whole aims to provide a small snapshot of art history, bringing together like-minded artists whose personal narratives still manage to traverse a wide breadth of time and place.

All shared an aim to free art from the realm of realism and to instead imbue it with the utopic ideal of appealing to the conceptual rather than the physical. Inspired by the intellectual debates that characterised much of the mid s, these artists evoked numerous media to explore and attempt to understand the rapid social change unfolding around them.History of Art: Naum Gabo Naum Gabo - Linear Construction No.

Using wires to create complex curves around a rigid framework (steel and aluminium) Interesting way to represent movement Naum Gabo I like how the artist made this piece monochromatic, but has the light hit the sculpture to where it looks as if there are different shades of color.

Sculpture by Naum Gabo by Dutch visual artist Ebere Groenouwe Naum Gabo KBE, born Naum Neemia Pevsner was a prominent Russian sculptor in the Constructivism movement and a pioneer of Kinetic Art. The Bauhaus school redefined artistic creativity and manufacturing, fine and applied art, and lead Gropius, Klee, Albers, Breuer+ to functional, iconic designs.

Human beings have formulated different ways of communicating their emotions to the world throughout their history. These methods of communication have enabled them to express their deepest feeling that normal words cannot express.

This has been as a result of that desire to be understood or. Naum Gabo - Artist, Fine Art, Auction Records, Prices, Biography for Naum (Pevsner) Gabo Hitta denna pin och fler på inspiration study project#1 av Влад Hitta denna pin och fler på Flower of life av Carlos Gonzalez.

Visa mer. från ashio-midori.com Träsnideri . Stephen Friedman Gallery is delighted to present Mira Schendel in conversation with Max Bill, Naum Gabo, Sol Lewitt, Agnes Martin, Roman Opalka & Bridget Riley.

Head of a woman by Naum Gabo on artnet