Year 8 Sculpture project

Year 8 has been working with cardboard and clay to produce sculptures of objects following a building process that is inspired on the work of Naum Gabo (see Naum Gabo post). Here are some examples of the sculptures and the beautiful watercolours they are also creating using Morandi as an inspiration.

On the 9th of March, early in the morning, this year 8 class dived into this task with admirable skill and concentration. More than admirable, it was, so far, never seen. Well done year 8!

Dieter Roth

(press title to visit MOMA'a site on the artist)

Between 1947 and 1998, Dieter Roth made 524 prints, culminating in one of the richest and most diverse printmaking oeuvres ever. Many are unique prints, created by the inventive manipulation of the various stages in the printmaking process, achieving remarkable editions in which not one print is identical.

The artist used all known—and some newly invented—printmaking techniques including woodcuts (relief printing), etching, engraving, aquatint (intaglio printing), lithography, offset (planographic printing), screenprinting (stencil printing), pressings (objects flattened by vertically exerted pressure), and squashings (objects flattened by horizontally exerted pressure). Often various methods were combined.

Roth’s creativity and ingenuity pushed printmaking beyond all known borders.


Dieter Roth, Small Sunset, 1972, TL37865.2. Photography: Heini Schneebeli © Dieter Roth Foundation, Hamburg

"I hate it if I notice that I like something, if I am able to do something, so that I just have to repeat it, that it could become a habit. Then I stop immediately. Also if it threatens to become beautiful."

Dieter Roth was a sculptor, poet, graphic designer, performer, publisher, musician, and, most of all, provocateur. Born to a Swiss father and German mother in Hanover, Germany, in 1930, he was sent out of Nazi Germany to live in Switzerland with foster parents. He received his training in graphic design in Bern, where he also became interested in avant-garde design and poetry, publishing some of his work in Daniel Spoerri’s magazine material.

(article from Harvard University Musem - http://www.artmuseums.harvard.edu/exhibitions/featured/eatart/roth.html)


Dieter Roth
New Year's Gift
1954
line etching on parchment, ca. 30 x 21 in.
Published by F. Gygi, Bern, 1955
Photo by Heini Schneebeli


Dieter ROTH
Pain and Sorrow, 1972 (Dobke 262)
Lithography
65 x 93 cm

Suprematism

"Suprematism is the rediscovery of pure art that, in the course of time,
had become obscured by the accumulation of 'things'."
- Kasimir Malevich, The Non-Objective World


Suprematism

The name given by the Russian artist Kasimir Malevich to the abstract art he developed from 1913. The first actual exhibition of Suprematist paintings was in December 1915 in St Petersburg, at an exhibition called O.10. The exhibition included thirty-five abstract paintings by Malevich, among them the famous black square on a white ground (Russian Museum, St Petersburg) which headed the list of his works in the catalogue. In 1927 Malevich published his book The Non-Objective World, one of the most important theoretical documents of abstract art. In it he wrote: 'In the year 1913, trying desperately to free art from the dead weight of the real world, I took refuge in the form of the square.' Out of the 'Suprematist square' as he called it, Malevich developed a whole range of forms including rectangles, triangles and circles often in intense and beautiful colours. These forms are floated against a usually white ground, and the feeling of colour in space in Suprematist painting is a crucial aspect of it. Suprematism was one of the key movements of modern art in Russia and was particularly closely associated with the Revolution. After the rise of Stalin from 1924 and the imposition of Socialist Realism, Malevich's career languished. In his last years before his death in 1935 he painted realist pictures. In 1919 the Russian artist El Lissitsky met Malevich and was strongly influenced by Suprematism, as was the Hungarian born Laszlo Moholy-Nagy.


Malevich - Dynamic Suprematism 1915 or 1916
Supremus


Laszlo Moholy-Nagy 1895-1946 - K VII 1922


El Lissitzky 1890-1941 - 5. Globetrotter (in Time) 1923
Globetrotter (in der Zeit)

(From Tate Modern Online)

Constructivism

Constructivism: (1913 - 1930)

Founded in 1913 by Vladimir Tatlin, the Russian Constructivist movement developed from Cubism, Italian Futurism, and Suprematism in Russia, Neo Plasticism in Holland, and the Bauhaus School in Germany. The term Constructivism is used to define non-representational relief construction, sculpture, kinetics, and painting. As a response to changes in technology and contemporary life, it advocated a change in the art scene, aiming to create a new order in art and architecture that referenced social and economic problems. Brothers Naum Gabo and Antoine Pevsner also supported the movement, infusing sculptural elements from cubism and futurism with an allusion to architecture, machinery, and technology. The movement’s first Constructivist manifesto was written in 1921 when the First Working Group of Constructivists was formed in Moscow. The movement later spread to Holland and Germany before gaining international popularity. The style was initially supported by the Soviet Regime, but later was deemed unsuitable for mass propaganda reasons. Following this decree, Gabo and Pevsner went into exile while Tatlin stayed in Russia.

Tatlin's Tower. Model of the Monument to the Third International (never built).


The Constructivist movement was also prominent in theatrical scene design, mostly spread by the efforts of Vsevolod Meyerhold.

Constructivism was one the first movements to adopt a strictly non-objective subject matter. The movement’s work was mainly geometric and precisely composed, sometimes through mathematics and measuring tools. They favored the basic shapes of squares, rectangles, circles and triangles. Constructivists used an array of materials including wood, celluloid, nylon, plexi-glass, tin, cardboard, and wire welded or glued together. Later in the development, Constructivists incorporated aluminum, electronics, and chrome. In using these forms and materials, their aim was to depict the dominance of the machine in the modern world and its triumph over nature.


Maquette of a Monument Symbolising the Liberation of the Spirit 1952
Antoine Pevsner 1884-1962


Naum Gabo. 1950. Linear construction No. 2 (Variation No. 1). Perspex with nylon monofilament

Francesco Clemente

Fire
1982
Watercolor on Arches paper

"Virgine", 1995, Pastel on Paper

(Biography taken from the Guggenheim Museum of New York)

Francesco Clemente was born on March 23, 1952, in Naples, into a family with aristocratic roots. After writing poetry and painting as a child, he went to Rome to study architecture at the Universit� degli Studi di Roma, La Sapienza in 1970. Leaving school before completing the program, he focused instead on art.

Although he came of age when Arte Povera and Conceptual art were in vogue, Clemente concentrated on representation in works on paper. His first solo exhibition was at the Galleria Valle Giulia in Rome in 1971. After meeting Alighiero e Boetti in Rome in 1972, Clemente traveled with the artist in Afghanistan. In 1973, Clemente first visited India, a country to which he would return again and again, often summering there. In 1974, he met Alba Primiceri, a theater actor, whom he would later marry; she would become a frequent subject of his art. In 1976 and 1977, Clemente spent time at Madras's Theosophical Society, where he delved into its library of religious and spiritual texts. His interest in Hindu spiritual life and in other non-European cultures was combined with an enthusiasm for local popular culture and crafts. Clemente began collaborating with Indian sign painters, miniaturists, and papermakers, as in Francesco Clemente Pinxit, a 1980–81 series of miniatures in gouache on handmade paper, for which young miniaturists from Jaipur and Orissa painted the decorative elements.

He continued making drawings and other works on paper in the 1970s, pursuing what would become his signature subjects: the human form, particularly women's bodies; his own image; sexuality; myth and spirituality; non-Western symbols; and dreamlike visions. Clemente's participation in the 1980 Venice Biennale brought him international attention. He rapidly became seen as one of the leaders of the �return to figuration,� dubbed the Transavanguardia in Italy (by art critic Achille Bonito Oliva) and Neo-Expressionism [more] in the United States, though Clemente himself was uncomfortable with such labels. This acclaim coincided with Clemente's move to a New York loft with his growing family. In 1981, he studied Sanskrit in New York.

In 1981–82, Clemente created his first large oils, a series of twelve paintings titled The Fourteen Stations, which were shown at the Whitechapel Art Gallery in London in 1983. The following year, he collaborated with Andy Warhol and Jean-Michel Basquiat on a group of works. While Clemente was working on a large scale, he simultaneously developed various book projects, including three unique works created with Beat poet Allen Ginsberg. In the 1980s, Clemente continued to travel to India; he also sojourned in southern Italy and the American Southwest. In the 1990s, he added Jamaica to his list of favorite spots and began working in a studio in New Mexico. He used a wax fresco method known as cera punica around this time. During a 1995 trip to Mount Abu in the Himalayas, Clemente painted a watercolor a day for fifty-one days in between taking walks and meditating.

Among Clemente's less traditional undertakings have been murals for the now-demolished Palladium nightclub in New York (1985) and a mural and lampshades for New York's Hudson hotel, which opened in 2000. In addition, he produced some two hundred works for director Alfonso Cuar�n's film Great Expectations (1998).

Clemente's art has been shown in numerous solo and group exhibitions. The first major American traveling show of his art was organized by the John and Mable Ringling Museum of Art in Sarasota, Florida (1986). Retrospectives have been organized by the Sezon Museum of Art in Tokyo (1994) and the Solomon R. Guggenheim Museum (1999). Clemente continues to divide his time between New York, Madras, and Rome.


Creation date 1986
Materials lithograph on Okawara Kozo paper
Credit line RCA Collection



"PAINTINGS", GAGOSIAN GALLERY MAY 9th 2003

William Blake

William Elohim Creating Adam (detail) 1795



Songs of Innocence, Copy F, pl.1, Frontispiece (1789) © Yale Center for British Art, New Haven

William Blake was born on November 28, 1757 in London at 28 Broad Street, Golden Square, where his father had a successful hosiery business. Since Blake was an unruly child his parents educated him at home instead of formal school. He spent his youth roaming about London and the countryside on the edge of town. He describes this in a song from his Poetical Sketches which he started writing at the age of thirteen:

How sweet I roamed from field to field
And tasted all the summer's pride

At the age of about ten, Blake said that he saw his 'first vision' when, sauntering along on Peckham Rye, he looked up to see a tree filled with angels. According to the accounts Blake gave of his literary development, he was already reading the works of Milton and Isaiah as a child.


Joseph of Arimathea Among the Rocks of Albion (1773)
© Fitzwilliam Museum

At the age of ten, Blake was sent to Mr Pars' drawing school in the Strand, where he copied plaster-casts of ancient sculptures. His father, unable to afford the cost of placing Blake as the pupil of a leading painter, took the prudent decision to apprentice him to an engraver at the age of fourteen. Blake's master, James Basire of Queen Street, Lincoln's Inn, was engraver to the London Society of Antiquaries. As a result, Blake was sent to Westminster Abbey to make drawings of tombs and monuments. Here he learned to love gothic art. He stood on the tombs to view them better and even made sketches when the grave of Edward I was opened.

In his free time, Blake collected prints of then unfashionable artists such as Durer, Raphael, and Michelangelo. In literature too, he rejected eighteenth-century polish, preferring the Elizabethans (Shakespeare, Jonson and Spenser) and ancient ballads, both authentic (such as Percy's Reliques of Ancient English Poetry), and forged (such as Macpherson's Ossian and Chatterton's Poems of Rowley).



The Penance of Jane Shore(c. 1793) © Tate

In August 1779, Blake was admitted to the Royal Academy (founded by the painter Sir Joshua Reynolds who was then its president). Paying his way by producing engravings for novels and catalogues, Blake drew from casts, life models and corpses, and shared in the dream of founding a new English school of historical painting.

There was, however, friction between Blake and his teachers. Reynolds recommended that he work with 'less extravagance and more simplicity', while George Michael Moser, another teacher there, discouraged Blake's admiration for the 'old, hard, stiff and dry unfinished works' of Raphael and Michelangelo. On the other hand, Blake was inspired by the artist James Barry and his grand historical paintings. He made friends with other young artists and was able to exhibit his own historical watercolours.

Blake married Catherine Boucher at St Mary's, Battersea in 1782. The newly-weds then moved out of Blake's father's house to Green Street, near Leicester Square. In the next year Blake's Poetical Sketches were published, and there was even talk of raising a subscription to send him to study in Rome.
n the summer of 1784, Blake's father died. While the eldest son, James, took over the hosiery business in number 28, Blake and his wife moved into the next-door house at 27 Broad Street. There he set up in business as a print seller in partnership with James Parker. The partnership lasted only three years, and in 1787 Blake moved to a house around the corner in Poland Street. In the same year his beloved younger brother, Robert, died. Blake sat by him during his last illness, and claimed to see his spirit pass through the ceiling on its way to heaven.

Blake said that the spirit of Robert came to him 'in a vision in the night' and revealed the secret technique for combining poem and picture on a single printing plate. In 1788, Blake started work on the first of his illuminated books using this method. His first efforts were in simple, chapbook style, but by 1789, The Songs of Innocence had been completed with Blake and his wife hand-producing the book. In the words of Blake's first biographer Alexander Gilchrist, they did everything 'except manufacturing the paper'.


Europe Title-page (1794)
© Glasgow University Library


Lambeth was still a village when Blake and his wife moved to No. 13 Hercules Buildings in 1791. A much larger house than any Blake had lived in before, it provided the light and space that he needed for his work. Blake now entered upon the most creative and productive period of his life.

Blake's work had become more overtly political after the upheavals in France in 1789. His poem The French Revolution, though printed in 1791 by Joseph Johnson (publisher of Tom Paine's Rights of Man), was deemed too dangerous to actually publish. By this time, Blake already felt himself to be losing out to his contemporaries in the art world, and now he saw the door to public recognition closing. The 1793 co-publication of The Gates of Paradise, an emblem book for children, was Blake's last venture into commercial publishing. In October of the same year, Blake published his Prospectus a public advertisement of his recent works. The Prospectus was also a critique of the establishment and the difficulty of gaining reconition for artists who lacked 'the means to propagate such works as have wholly absorbed the Man of Genius'. Blake was literally taking matters into his own hands by producing his own work and offering it for sale at his home.

The Prospectus advertised the illuminated prophetic books which had begun to pour forth from his press: The Marriage of Heaven and Hell, a brief epic interspersed with proverbs, The Visions of the Daughters of Albion, an allegory about freedom, and America, A Prophecy, a mixture of history and myth, all date from 1793.

There was no letting up in 1794, when The Songs of Experience (the pessimistic 'contrary' volume to The Songs of Innocence) was completed. In the same year Blake also published Europe, A Prophecy (an allegory of the political situation in Europe with warnings about the dire consequences of war), and The First Book of Urizen (his account of the origins of mankind and the natural world).

The House of Death (c.1795) © Tate

The illustrations in Blake's Prophetic Books had been growing ever larger and more colourful. It was therefore a logical step for him to adapt his printing-methods to produce full-scale paintings. The year 1795 saw the production of the series of twelve large watercolour prints, including Newton and Nebuchadnezzar and The House of Death (shown here), which biographer Peter Ackroyd calls 'the finest artistic statement of Blake's Lambeth visions'.

In 1796, Richard Edwards, a bookseller, commissioned Blake to illustrate Young's Night Thoughts, a philosophical verse epic immensely popular in the late eighteenth century. Ultimately, however, Edwards lost interest, and finally less than half the poem was published, with only forty-three engravings from Blake's 500 watercolours. Blake's friend, the sculptor John Flaxman, commissioned him to illustrate the poems of Thomas Gray. In addition, Blake's most important patron the civil servant Thomas Butts, commissioned a series of Biblical paintings from him. However, this work was not enough to compensate for price inflation and the depressed art market, caused by the war with France.

Work was scarce and life was hard, so it seemed like a stroke of luck when William Hayley, an eccentric gentleman poet, invited Blake down to live on his estate in Sussex. The Blakes were glad to leave the 'terrible desert of London' for 'sweet Felpham'.

John Milton (1800-1803) © Manchester City Art Gallery

Delighted by the natural beauty around him, Blake embarked on his new life in Sussex with great optimism. Blake received many commissions from his new patron, producing plates for Hayley's ballad Little Tom the Sailor, and engravings for his Ballads on Anecdotes relating to Animals and for his Life of Cowper.

But by 1802, the situation had soured. Blake was tired of the endless stream of trivial commissions from Hayley and his society neighbours. He had no wish to waste his talents painting a series of great poets' portraits for Hayley's new library (see portrait of Milton above), or handscreens for his neighbour, Lady Bathurst. The next year Blake wrote a letter to his patron Butts stating that only in London that he could 'carry on his visionary studies...see visions, dream dreams'.

To make matters worse, in August 1803 Blake had driven a soldier, Private John Schofield, out of his garden, allegedly uttering the treasonous words 'Damn the king. The soldiers are all slaves.' Scheduled to be put on trial for sedition, Blake moved back to London in late 1803, thoroughly sick of his officious patron, of his damp cottage and of the law. He briefly returned to Sussex in early 1804 and was acquitted to the riotous approval of the court.
Blake's optimism about his return to London was ill-founded. At his new lodgings on the first floor of No. 17 South Moulton Street, he began work on the illuminated books, Milton and Jerusalem. However, commercial work proved even more elusive than it had before. 'Art in London flourishes,' he wrote, 'yet no one brings work to me'.

When the publisher Robert Cromek approached him to both illustrate and engrave the poet Robert Blair's Grave, Blake's luck seemed to have taken a turn for the better. The disappointment was only the more intense, therefore, when Cromek ultimately chose the artist Schiavonetti to engrave Blake's illustrations instead of Blake himself. The Grave proved a success, but Blake received little financial reward. He now became increasingly paranoid and cantankerous, breaking off from most of his friends and patrons.

In 1806, Cromek teamed up with the artist Thomas Stothard to produce a painting and engraving of Chaucer's Canterbury Pilgrims. Blake claimed they had stolen the idea from him and when Stothard's work was exhibited to great acclaim, Blake decided to hold a one-man exhibition centered around his own version of the Canterbury Pilgrims. Unfortunately, he could not afford to show his work in a fashionable part of town, so his exhibition was held in his brother's hosiery shop in May 1809. Almost no one came. The reviews were cruel, mocking Blake as 'an unfortunate lunatic whose personal inoffensiveness secures him from confinement', and dismissing his Descriptive Catalogue as 'a farrago of nonsense...and egregious vanity'.

By 1810, Blake was impoverished and estranged from his friends and patrons. Indeed his first biographer entitled the chapter dealing with the period 1810-1817 'Years of Deepening Neglect'. But Blake continued to work, believing his Jerusalem, an epic about war, peace and liberty focused on London, to be his finest work.
As Blake turned sixty, his work at last began to find passionate admirers among younger artists, such as the watercolourists John Linnell and John Varley. It was Varley who encouraged Blake to draw sketches of his 'spiritual visitants', of which the most famous is The Ghost of a Flea. Linnell, meanwhile, despite being over thirty years Blake's junior, commissioned works for himself, and helped Blake secure commissions from others. It was thanks to his influence that Blake made the woodcuts for Robert Thornton's schooltext of Virgil's Pastorals in 1821. And Linnell himself ordered a duplicate set of the watercolours of The Book of Job (originally produced for Thomas Butts) and commissioned the series of drawings from Dante's Divine Comedy in 1824.

In 1821, Blake moved to a couple of rooms in Fountain Court, Strand, from which he could see the Thames. His young admirers called him 'The Interpreter', and confident in the judgement of posterity, he grew into a gentler and less angry man.

In the spring of 1827, Blake fell ill. A friend at his deathbed said he died 'singing of the things he saw in heaven' on August 12 at the age of sixty-nine. He was buried in an unmarked grave in the dissenters' graveyard at Bunhill Fields. One of his last acts had been to draw a picture of Catherine, his loyal wife and helpmate, from his deathbed.

press the title of this post to view the William Blake online archive

Naum Gabo

Naum Gabo was associated with the Constructivists at the time of the Russian Revolution of 1917. They saw an artistic renewal as part of the revolution and embraced new scientific theories and industrial materials. 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. He declared in 1920: 'we take four planes and we construct with them the same volume as of four tons of mass.' In 1915-20 Gabo used planes to construct heads and figures that demonstrated the application of this method to traditional subjects. 'Head No.2' is a later enlargement of the most dramatic of these models.
(From the display caption August 2004)From - Tate Modern Collection.



American sculptor of Belorussian birth. He was brought up in the Russian town of Bryansk, where his father owned a metallurgy business. Early paintings display his romantic and literary spirit, for example Self-portrait (c. 1907–10; artist’s family priv. col., see 1986 exh. cat., pl. 128), but in 1910 he went to the University of Munich to study medical and scientific subjects (1910–12), then philosophy and history of art (1912–14). The lectures of Heinrich Wölfflin and the writings of Henri Bergson were significant influences on him at this time. Gabo also studied engineering at the Technische Hochschule, Munich (1912–14), where there was a large collection of mathematical models. During World War I he took refuge in Norway (1914–17) and started working with his ‘stereometric method’ of construction, one of several techniques he adopted from such models, and through which he made a significant contribution to the development of the language of Constructivism. This enabled him to make images from sheet materials such as cardboard, plywood and galvanized iron, incorporating space in the body of the work and thereby denying the solidity of matter. Around this time he adopted the surname Gabo to distinguish himself from his brother, the artist antoine Pevsner.

Gabo’s first constructed works were figurative (e.g. Constructed Head No. 2, 1916; London, artist’s family priv. col., see 1986 exh. cat., p. 92), but following his return to Russia in 1917 he started to make non-figurative reliefs and towers from transparent plastic and glass. Column (144 mm; London, Tate), his most important architectonic sculpture of this period, was conceived in the winter of 1920–21 as a celluloid model. As he intended with most of his works, Gabo enlarged this construction several times. (There is a 1.05 m version in New York, Guggenheim, and a 1.93 m version in Humlebæk, Louisiana Mus.; both measurements include an integral base.) In 1920, in conjunction with an open-air exhibition on Tverskoy Boulevard, Gabo, together with his brother, published his Realistic Manifesto, summarizing his views on art. As with all Gabo’s writings this manifesto is poetically forceful and was highly influential. Rejecting Cubism and Futurism Gabo called for an art for a new epoch, a public art recognizing space and time as its basic elements and espousing construction and kineticism. These ideas are embodied in Kinetic Construction (Standing Wave, 1919–20; London, Tate).

In 1922 Gabo travelled to Berlin in connection with the Erste Russische Kunstausstellung, held at the Van Diemen Gallery, in which he was well-represented with about ten works. There he met Katherine S. Dreier, his first important patron, and he soon came into contact with many artists and architects, such as Hans Richter, Kurt Schwitters, Hugo Häring, the brothers Hans and Wassili Luckhardt and artists of the Bauhaus. Throughout the 1920s Gabo continued to employ glass, metal (sometimes painted black or white) and plastics in his works, which remained architectonic or monumental in conception (for illustration see Plastic). He also designed a stage set for Diaghilev’s ballet La Chatte (model in London, Tate), first performed in Monte Carlo in 1927, and in 1931 he submitted plans to the competition for the Palace of the Soviets in Moscow. In 1930 he had an important one-man show at the Kestner-Gesellschaft in Hannover, and in 1931 he became a member of the group Abstraction–Création in Paris.

By 1933 Gabo had moved to Paris, but in 1935 he made a brief visit to London, where he settled in 1936. There he made friends with Herbert Read, and with Leslie Martin and Ben Nicholson, with whom in 1937 he edited Circle. Through Dr John Sisson, Gabo was introduced to perspex, the new plastic developed by Imperial Chemical Industries that he employed in some of his best-known works, such as Translucent Variation on Spheric Theme (1937; New York, Guggenheim) and Spiral Theme (1941; London, Tate). Gabo made over 20 free-standing variations on the basic ‘spheric’ theme, differing in size and materials. More elaborate developments include Model for ‘Spheric Construction: Fountain’ (1937/8; London, artist’s family priv. col.), Bas-relief on a Circular Surface, Semi-spheric (1938; Paris, priv. col.) and Construction in Space, with Net (1952; London, artist’s family priv. col.). During World War II Gabo lived in Cornwall (1939–46), and there he started using nylon monofilament as in his works entitled Linear Construction in Space (e.g. Linear Construction in Space No. 1 (variation), 1942–3; London, Tate). Materials were in short supply during the war, but Gabo was able to continue to paint and carve. In 1943 he was commissioned through the Design Research Unit to design a car for the Jowett Car Company. In 1946 Gabo moved to the USA, where he became a close friend of Lewis Mumford. Following a major exhibition of his works in New York in 1948, he began to receive commissions for public projects. The first of these, for the Esso Building at the Rockefeller Center (1949), New York, remained unexecuted, but in 1951 he completed his Construction Suspended in Space for the Baltimore Museum of Art. There followed an important commission for the Bijenkorf Construction in Rotterdam (h. c. 25 m, 1956–7), through which Gabo intended to celebrate the reconstruction of the city following World War II. Ultimately related to the ‘spheric theme’, this work was developed directly from his entry to the international competition for which he submitted a Model for a Monument to the Unknown Political Prisoner (410 mm, 1952; London, Tate), which gained one of the five second prizes. In the early 1950s Gabo took up wood-engraving, which he used until the mid-1970s to explore the same concepts as his sculpture (see 1986 exh. cat., p. 190).

Gabo’s work does not fit simply into the machine aesthetic. As he wrote in 1957: ‘Not the Machine—the creative spirit of man is my inspiration’. An artist of diverse interests, Gabo was fascinated and influenced by scientific and mathematical images, whether visually or verbally described, and particularly by the enigmas of science. While he valued supremely the autonomy of the artist, he also sought to integrate not only sculpture, architecture and design but also art and science. Thus he felt that his ‘constructive idea’ could serve as a philosophy not only for art but for life in general.

Colin C. Sanderson
From Grove Art Online

© 2007 Oxford University Press