"also included at Rockefeller Center in New York City and The Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY. Gabo grew up in a Jewish family of six children in the provincial Russian town of Bryansk, where 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. His command of several languages contributed greatly to his mobility during his career. “As in thought, so in"
"Naum Gabo Naum Gabo, born Naum Neemia Pevsner (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. 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"
"constructions delicately holding turmoil at bay. Naum Gabo Naum Gabo, born Naum Neemia Pevsner (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. 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,"
"kinetic element. After the Russian Revolution of 1917 it turned its attentions to the new social demands and industrial tasks required of the new regime. Two distinct threads emerged, the first was encapsulated in Antoine Pevsner's and Naum Gabo's ""Realist manifesto"" which was concerned with space and rhythm, the second represented a struggle within the Commissariat for Enlightenment between those who argued for ""pure art"" and the Productivists such as Alexander Rodchenko, Varvara Stepanova and Vladimir Tatlin, a more socially-oriented group who wanted this art to be absorbed in industrial production. A split occurred in 1922 when Pevsner and Gabo"
"In Construction"". Constructivist architecture emerged from the wider constructivist art movement. After the Russian Revolution of 1917 it turned its attentions to the new social demands and industrial tasks required of the new regime. Two distinct threads emerged, the first was encapsulated in Antoine Pevsner's and Naum Gabo's ""Realist manifesto"" which was concerned with space and rhythm, the second represented a struggle within the Commissariat for Enlightenment between those who argued for ""pure art"" and the Productivists such as Alexander Rodchenko, Varvara Stepanova and Vladimir Tatlin, a more socially oriented group who wanted this art to be absorbed in industrial"
"taught at 'VKhUTEMAS' the Higher Art and Technical Workshop, with Tatlin, Kandinsky and Rodchenko. During this period the reliefs and construction became more geometric and Gabo began to experiment with kinetic sculpture though the majority of the work was lost or destroyed. Gabo's designs had become increasingly monumental but there was little opportunity to apply them; as he commented, ""It was the height of civil war, hunger and disorder in Russia. To find any part of machinery … was next to impossible"". Gabo wrote and issued jointly with Antoine Pevsner in August 1920 a ""Realistic Manifesto"" proclaiming the tenets of"
"typography, advertising and propaganda, as well as theater set design. Boris Arvatov published ""Art and Production"" in 1926, which was a major summation of the principals of productivist art. Productivist art Productivist art was an approach to art developed by a group of Constructivist artists in post-Revolutionary Russia. They sought to ensure that art should have a practical, socially useful role as a facet of industrial production. The group formed to contradict Naum Gabo's assertion that Constructivism should be devoted to exploration of abstract space and rhythm. Aleksei Gan led the group which included Alexander Rodchenko and Varvara Stepanova and"
"Productivist art Productivist art was an approach to art developed by a group of Constructivist artists in post-Revolutionary Russia. They sought to ensure that art should have a practical, socially useful role as a facet of industrial production. The group formed to contradict Naum Gabo's assertion that Constructivism should be devoted to exploration of abstract space and rhythm. Aleksei Gan led the group which included Alexander Rodchenko and Varvara Stepanova and focused on applied arts. Productivist art became the prevailing aesthetic and artistic practice of such proponents as Kazimir Malevich, El Lissitzky and Liubov Popova designed furniture, textiles, clothing, ceramics,"
"Russian avant-garde The Russian avant-garde was a large, influential wave of avant-garde modern art that flourished in the Russian Empire and Soviet Union, approximately from 1890 to 1930—although some have placed its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related, art movements that flourished at the time; namely Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum and Neo-primitivism. Given that many avant-garde artists involved were born or grew up in what is present day Belarus and Ukraine (including Kazimir Malevich, Aleksandra Ekster, Vladimir Tatlin, Wassily Kandinsky, David Burliuk, Alexander Archipenko),"
"Antoine Pevsner had a joint exhibition at the Galerie Percier, Paris in 1924 and the pair designed the set and costumes for Diaghilev's ballet ""La Chatte"" (1926) that toured in Paris and London. To escape the rise of the Nazis in Germany the pair stayed in Paris in 1932–35 as members of the Abstraction-Creation group with Piet Mondrian. 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"". At the outbreak of World War II he followed his friends Barbara Hepworth and Ben Nicholson to"
"by Erdman are still in print and always in demand. After the disappearance of the group, the ""young imaginists"" declared themselves followers of this trend in the early 1930s, and so did the ""meloimaginists"" of the 1990s. Imaginism Imaginism was a Russian avant-garde poetic movement that began after the Revolution of 1917. Imaginism was founded in 1918 in Moscow by a group of poets including Anatoly Marienhof, Vadim Shershenevich, and Sergei Yesenin, who wanted to distance themselves from the Futurists; the name may have been influenced by imagism. Stylistically, they were heirs to Ego-Futurism. Imaginists created poetry based on sequences"
"Imaginism Imaginism was a Russian avant-garde poetic movement that began after the Revolution of 1917. Imaginism was founded in 1918 in Moscow by a group of poets including Anatoly Marienhof, Vadim Shershenevich, and Sergei Yesenin, who wanted to distance themselves from the Futurists; the name may have been influenced by imagism. Stylistically, they were heirs to Ego-Futurism. Imaginists created poetry based on sequences of arresting and uncommon images. They wrote many verbless poems. Other members of the group were the poets Rurik Ivnev, Alexander Kusikov, Ivan Gruzinov, Matvey Royzman, and the prominent Russian dramatist Nikolay Erdman. In January 1919 they"
"20th-century art Twentieth-century art—and what it became as modern art—began with modernism in the late nineteenth century. Nineteenth-century movements of Post-Impressionism (Les Nabis), Art Nouveau and Symbolism led to the first twentieth-century art movements of Fauvism in France and Die Brücke (""The Bridge"") in Germany. Fauvism in Paris introduced heightened non-representational colour into figurative painting. Die Brücke strove for emotional Expressionism. Another German group was Der Blaue Reiter (""The Blue Rider""), led by Kandinsky in Munich, who associated the ""blue rider"" image with a spiritual non-figurative mystical art of the future. Kandinsky, Kupka, R. Delaunay and Picabia were pioneers of"
"""photographic realism""; artists such as Degas in the late 19th century felt the need to challenge the movement toward photography with vivid, cadenced landscapes and portraits. By the early 1900s, certain artists grew closer and closer to ascribing their art to dynamic motion. Naum Gabo, one of the two artists attributed to naming this style, wrote frequently about his work as examples of ""kinetic rhythm"". He felt that his moving sculpture ""Kinetic Construction"" (also dubbed ""Standing Wave"", 1919–20) was the first of its kind in the 20th century. From the 1920s until the 1960s, the style of kinetic art was"
"like the $1000 Mr and Mrs Frank G. Logan Art Institute Prize at the annual Chicago and Vicinity exhibition of 1954. 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. These earliest constructions originally in cardboard or wood were figurative such as the ""Head No.2"" in the Tate collection. He moved back to Russia in 1917, to become involved in politics and art, spending five years in Moscow with his brother Antoine. Gabo contributed to the Agit-prop open air exhibitions and"
"Viktor Vasnetsov and Ilya Repin. By the turn of the 20th century and on, many Russian artists developed their own unique styles, neither realist nor avante-garde. These include Boris Kustodiev, Kuzma Petrov-Vodkin, Mikhail Vrubel and Nicholas Roerich. Many works by the Peredvizhniki group of artists have been highly sought after by collectors in recent years. Russian art auctions during Russian Art Week in London have increased in demand and works have been sold for record breaking prices. The Russian avant-garde is an umbrella term used to define the large, influential wave of modernist art that flourished in Russia from approximately"
"their monotonous, repetitive labor. The French Realist movement had stylistic and ideological equivalents in all other Western countries, developing somewhat later. The Realist movement in France was characterized by a spirit of rebellion against powerful official support for history painting. In countries where institutional support of history painting was less dominant, the transition from existing traditions of genre painting to Realism presented no such schism. An important Realist movement beyond France was the Peredvizhniki or ""Wanderers"" group in Russia who formed in the 1860s and organized exhibitions from 1871 included many realists such as genre artist Vasily Perov, landscape artists"
"symbolist painting, represented by Mikhail Vrubel, Kuzma Petrov-Vodkin, and Nicholas Roerich. The Russian avant-garde was a large, influential wave of modernist art that flourished in Russia from approximately 1890 to 1930. The term covers many separate, but inextricably related art movements that occurred at the time, namely neo-primitivism, suprematism, constructivism, rayonism, and Russian Futurism. Notable artists from this era include El Lissitzky, Kazimir Malevich, Wassily Kandinsky, and Marc Chagall. Since the 1930s the revolutionary ideas of the avant-garde clashed with the newly emerged conservative direction of socialist realism. Soviet art produced works that were furiously patriotic and anti-fascist during and"
"the St Petersburg avant-garde, including Kazimir Malevich and Vladimir Tatlin. He made a second trip to Paris in 1914, returning to St. Petersburg in 1915. At this point, he began painting in a Cubist style reminiscent of Juan Gris. In 1915, Puni, (Aleksandra Ekster, Liubov Popova, Ivan Kliun, Ksenia Boguslavskaya, Olga Rozanova, Nadezhda Udaltsova, Nina Genke and others) formed Supremus, a group of artists dedicated to the promulgation of Suprematism, the abstract art movement founded by Malevich. Malevich and Puni co-authored the ""Suprematist Manifesto"", published in 1916, which proclaimed a new, abstract art for a new historical era. Puni also"
"idea that art was a spiritual activity, and those who believed that they must work directly for the revolutionary development of the society. In 1921, together with Aleksei Gan, Rodchenko and Stepanova formed the first ""Working Group of Constructivists"", which rejected fine art in favor of graphic design, photography, posters, and political propaganda. Also in 1921, Stepanova declared in her text for the exhibition ""5x5=25"", held in Moscow: The term 'Constructivist' was by then being used by the artists themselves to describe the direction their work was taking. The theatre was another area where artists were able to communicate new"
"the 1970s. Later Mikhail Larionov and his followers disagreed with the group's ethos and formed the more radical Donkey's Tail. Jack of Diamonds (artists) Jack of Diamonds (, Romanized: Bubnovyi Valet), also called Knave Of Diamonds, was a group of avant-garde artists originating from an exhibition held in Moscow from 1910. The group remained active until December 1917. The ""Knave of Diamonds"" was an exhibition that opened in Moscow in December 1910, featuring French cubist paintings by Henri Le Fauconnier, André Lhote, Albert Gleizes and Jean Metzinger. Curated by Alexandre Mercereau, the exhibition included works of four Russian artists expelled"
"in artistic world before the Russian Revolution of 1917. The group formed within the Peredvizhniki movement, that held their last, 47th, public exhibition in 1922, and clearly placed itself in opposition to avant-garde art. Their first public statement as a new entity was a 1922 exhibition in Moscow; all proceeds were used for the relief of Russian famine of 1921. By 1928, the group sponsored 10 nationwide exhibitions with high publicity. Despite its revolutionary title, it successfully united artists of the ""old school"" like Abram Arkhipov, Aleksandr Makovsky, Nikolay Kasatkin, Konstantin Yuon and the younger ones like Sergei Gerasimov and"
"former ""realistic"" conventions that had ""oppressed"" the artistic community. Electro act ""The Rayonists"" took their name from the movement. Rayonism Rayonism (or Rayism or Rayonnism) is a style of abstract art that developed in Russia in 1911. Mikhail Larionov and Natalia Goncharova developed rayonism after hearing a series of lectures about Futurism by Marinetti in Moscow. The Futurists took speed, technology and modernity as their inspiration, depicting the dynamic character of early 20th century life. The Rayonists sought an art that floated beyond abstraction, outside time and space, and to break the barriers between the artist and the public. They"
"Third International (Tatlin's Tower) (1919–20) which combined a machine aesthetic with dynamic components celebrating technology such as searchlights and projection screens. Gabo publicly criticized Tatlin's design saying, ""Either create functional houses and bridges or create pure art, not both."" This had already caused a major controversy in the Moscow group in 1920 when Gabo and Pevsner's ""Realistic Manifesto"" asserted a spiritual core for the movement. This was opposed to the utilitarian and adaptable version of Constructivism held by Tatlin and Rodchenko. Tatlin's work was immediately hailed by artists in Germany as a revolution in art: a 1920 photograph shows George"
"Khomyakov, Ivan Kireyevsky, and Konstantin Aksakov are credited with co-founding the movement. A notable folk revival in Russian art was loosely related to Slavophilia. Many works concerning Russian history, mythology and fairy tales appeared. Operas by Nikolai Rimsky-Korsakov, Mikhail Glinka and Alexander Borodin; paintings by Viktor Vasnetsov, Ivan Bilibin and Ilya Repin; and poems by Nikolay Nekrasov, Aleksey Konstantinovich Tolstoy, among others, are considered masterpieces of Russian romantic nationalism. According to Fyodor Tyutchev, a notable Russian poet of 19th century: Pan-Slavism, an ideal of unity of all Slavic Orthodox Christian nations, gained popularity in the mid- to late 19th century."
"values. Five thousand copies of the manifesto tract were displayed in Moscow streets in 1920. Gabo had lived through a revolution and two world wars; he was also Jewish and had fled Nazi Germany. Gabo’s acute awareness of turmoil sought out solace in the peacefulness that was so fully realized in his “ideal” art forms. It was in his sculpture that he evaded all the chaos, violence, and despair he had survived. Gabo chose to look past all that was dark in his life, creating sculptures that though fragile are balanced so as to give us a sense of the"
"1890 to 1930. The term covers many separate, but inextricably related, art movements that occurred at the time; namely neo-primitivism, suprematism, constructivism, rayonism, and futurism. Notable artists from this era include El Lissitzky, Kazimir Malevich, Wassily Kandinsky, Vladimir Tatlin, Alexander Rodchenko, Pavel Filonov and Marc Chagall. The Russian avant-garde reached its creative and popular height in the period between the Russian Revolution of 1917 and 1932, at which point the revolutionary ideas of the avant-garde clashed with the newly emerged conservative direction of socialist realism. In the 20th century many Russian artists made their careers in Western Europe, forced to"
"founded Neo-Academism. St. Petersburg artists Igor Polyakov and Alexander I. Rappoport (b. 1959) formed the underground art group the ""Battle Elephants"" in 1984. Olga Kisseleva was one of the leaders of Russian New media art. Another important St. Petersburg artist who emerged in the 1980s was Afrika (Sergei Bugaev). Javad Mirjavadov (1923-1992), Azerbaijani artist, a non-conformist and a reformer, whose masterpieces have had a tremendous influence on the development of contemporary Azerbaijani art. A turning point in his creative work came when he was a student and saw a reproduction of Paul Cézanne's ""Mardi Gras"", experiencing creative regeneration. This passionate,"
"Rayonism Rayonism (or Rayism or Rayonnism) is a style of abstract art that developed in Russia in 1911. Mikhail Larionov and Natalia Goncharova developed rayonism after hearing a series of lectures about Futurism by Marinetti in Moscow. The Futurists took speed, technology and modernity as their inspiration, depicting the dynamic character of early 20th century life. The Rayonists sought an art that floated beyond abstraction, outside time and space, and to break the barriers between the artist and the public. They derived the name from the use of dynamic ""rays"" of contrasting color, representing lines of reflected light — ""crossing"
"emigrate by the Revolution. Wassily Kandinsky, Marc Chagall, Naum Gabo and others spread their work, ideas, and the impact of Russian art globally. During the Russian Revolution a movement was initiated to put all arts to service of the dictatorship of the proletariat. The instrument for this was created just days before the October Revolution, known as Proletkult, an abbreviation for ""Proletarskie kulturno-prosvetitelnye organizatsii"" (Proletarian Cultural and Enlightenment Organizations). A prominent theorist of this movement was Alexander Bogdanov. Initially, Narkompros (ministry of education), which was also in charge of the arts, supported Proletkult. Although Marxist in character, the Proletkult gained"
"Mikhail: ""After the Future: The Paradoxes of Postmodernism and Contemporary Russian Culture"", Amherst: The University of Massachusetts Press, 1995. Moscow Conceptualists The Moscow Conceptualist, or Russian Conceptualist, movement began with the Sots art of Komar and Melamid in the early 1970s, and continued as a trend in Russian art into the 1980s. It attempted to subvert socialist ideology using the strategies of conceptual art and appropriation art. The central figures were Dmitri Prigov, Ilya Kabakov, Irina Nakhova, Viktor Pivovarov, Eric Bulatov, Andrei Monastyrski and Komar and Melamid. Mikhail Epstein, in ""After the Future: The Paradoxes of Postmodernism and Contemporary Russian"
"these intellectual debates, Gabo became a leading figure in Moscow’s avant garde, in post-Revolution Russia. It was in Munich that Gabo attended the lectures of art historian Heinrich Wölfflin and gained knowledge of the ideas of Einstein and his fellow innovators of scientific theory, as well as the philosopher Henri Bergson. 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. Just before the onset of the First World War in 1914, Gabo discovered contemporary art, by reading Kandinsky’s ""Concerning the Spiritual in Art"","
"Zharkikh () (b. 1938), Alexei Khvostenko (1940-2004), Valery Klever, Yuri Gourov, Alexander Ney (b. 1939), Vladimir Lisunov (1940-2000), Igor V. Ivanov (1934-2017), Natalia Toreeva (b. 1941), Evgeny Goryunov (1944-1994), and others. From Siberia: Edward Zelenin (1938-2002) (). There were many artistic groups and movements that were active in the Soviet Union after the period of the thaw. They can be difficult to classify because often they were not related due to stylistic objectives, but geographical proximity. Furthermore, participation in these groups was fluid as the community of nonconformist artists in Moscow was relatively small and close-knit. One of the most"