Gabo

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Gabo

(ˈɡɑːbəʊ; -bə)
n
(Biography) Naum (naʊm), original name Naum Neemia Pevsner. 1890–1977, US sculptor, born in Russia: a leading constructivist
References in periodicals archive ?
Drawn from the work of watercolorist Raoul Dufy (Autumn), sculptor Naum Gabo (Construct), portrait painter Han Holbein the Younger (Holbein) and the Precisionism movement (Precision) — among many others, Brentano's new contract textiles perform with eco-conscious finishing and contents.
Sadly for Schwitters, if he had only chosen to come straight to London in 1937 he would have found a circle of avant-garde European friends such as Walter Gropius, Laszlo Moholy-Nagy and Naum Gabo, but by the time he arrived all had left, either for America or Cornwall.
There are small pieces by Naum Gabo, Barbara Hepworth and Ben Nicholson, while the next room confronts Henry Moore's Reclining Figure (1951) with Hepworth's Single Form (Memorial) (1961-62).
Henry Moore, Naum Gabo, and Richard Smith, YBA's The Chapman
Accompanying the plates are essays discussing his life and work, including the origins of his vision, his engagement with primitivism, his relationships with international figures (among them, Naum Gabo, Alberto Giacometti, and Picasso), his founding of the Henry Moore Foundation, and his lasting influence.
The isochronisme concept appears in the history of art, namely in the portraits of Picasso or the sculptures of Naum Gabo, a Russian constructivist.
Hepworth and Nicholson were joined by Naum Gabo and St Ives became known for its abstract avant-garde art which was both international in outlook but strongly rooted in the locality.
I was keen to visit the Tate, which this season features an exhibition by Richard Long, Kosho Ito and Russian-born Naum Gabo who moved to Cornwall in 1939.
Some of the more important exiles were Antoine Pevsner, Naum Gabo and Alexander Rodchenko.
It was there that he became interested in avant-garde artists such as Piet Mondrian and Naum Gabo.
Naum Gabo (1890-1977) possessed an astonishing consistency of vision.
As early as 1937 the architect John Leslie Martin could be found arguing in Circle, the avant-garde casebook he edited with Ben Nicholson and Naum Gabo, that the 'new aesthetic' which would provide the subjects to match new developments of modern form and technique in the visual and plastic arts was to be sought 'in the motor-car and the aeroplane, in the steel bridge and the line of electric pylons.