naum gabo column

They resumed late-night conversations begun in Paris earlier in the decade, on Constructivism, Neo-Plasticism, and the illusionistic space of the painting. Gabo's increasing concern, from the late 1930s, with the aesthetic aspect of his work at the expense of the industrial can be seen in Model for 'Construction in Space "Crystal"'. In a highly memorable and traumatic encounter, he witnessed the brutality of the Cossacks against a protester, later recalling: "I was 15 years old and that day and that night I became a revolutionary". Sep 22, 2013 - This Pin was discovered by Sesit. The critic Herbert Read hailed it as 'the highest point ever reached by the aesthetic intuition of man'. It is a sign of how much Russia had changed since Gabo's departure nine years previously that neither his proposal nor those of the other modernist architects who had entered were rewarded by the judges. An elegant public artwork constructed from curved, stainless steel plates, designed for installation in a pool of water, Revolving Torsion represents the culmination of principles of Kinetic art first explored over 50 years earlier by Gabo's Kinetic Construction. Metal, wood and electric motor - Collection of the Tate, United Kingdom. But this second construction in the series also reflects Gabo's new ambitions for his work after moving to the centre of global economic and cultural power after the Second World War, where wealthy patrons and lucrative commissions were more readily available. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. 1, here nylon filament is tightly wrapped around two curvilinear, intersecting plastic planes shaped like a seed pod, creating a shimmering, reflective central form. As in thought, so in feeling, a vague communication is no communication at all," Gabo once remarked. During his time in Germany, Gabo also worked with his brother, Antoine, who had settled in Paris in 1923, on the set for Sergei Diaghilev's ballet La Chatte (1927), and on other projects for Diaghilev's popular Ballet Russes company. Already, Bolshevik Russia was becoming hostile to artists of the avant-garde, as the grim paradigm of Socialist Realism appeared on the horizon. He famously explored the former idea in his Linear Construction works (1942-1971)used nylon filament to create voids or interior spaces as "concrete" as the elements of solid massand the latter in his pioneering work, Kinetic Sculpture (Standing Waves) (1920), often considered the first kinetic work of art. With London in danger of Luftwaffe attacks, Hepworth and Nicholson had retreated to the Cornish coast, and St. Ives had seemed the safest option for Naum and Miriam too, though only temporarily. See the renowned permanent collection and special exhibitions. It manifests the spiritual rhythm and directs it. It should be noticed that the work was conceived in the winter of 1920-1, as a tiny model, and executed in the winter of 1922-3 in its big form'. October 30, 1997, By Christina Lodder / It was first exhibited in 1920, to great critical acclaim. To a sibling he wrote: "I'm very sorry I've had to absorb such a mass of interesting impressions alone". Find more prominent pieces of installation at Wikiart.org best visual art database. His friend, the art critic Herbert Read, described it as expressing "the highest point ever reached by the aesthetic intuition of man". Indeed, he felt that the combination of his Russian roots and his recent experience with Western architectural and scientific principles would stand him in good stead in the competition. In particular, the piece seems to enact the idea that "kinetic rhythms" should be "affirmed as the basic forms of our perception of real time", associable both with Einsteinian space-time relativity and (probably more directly) Henri Bergson's conception of time as non-linear. Column is a freestanding vertical tower made from two transparent, interlocking, rectangular planes that rise from a circular base of dark steel. After school in Kursk, Gabo entered Munich University in 1910, first studying medicine, then the natural sciences, and attended art history lectures by Heinrich Wlfflin. Many other migr artists were congregating in England at this time, including old friends: Oskar Kokoschka, Walter Gropius, Marcel Breuer, and Piet Mondrian. Cellulose, acetate and Perspex - Collection of the Tate, United Kingdom. Then, in the summer of 1941, art patron Margaret Gardiner offered Gabo 25 to produce a work for her partner, the scientist John Bernal. 2 2022-10-21. Gabo was, in fact, involved in the collective conception of what would become known as Constructivism. Five thousand copies of the manifesto tract were displayed in Moscow streets in 1920. Gabo also devised plans for architectural forms, such as skyscrapers and car-parks, which were never realized. This subtle interplay is complemented by the interplay of shadows on the pool of water below. He was also finally able to achieve a long-held ambition of creating large-scale, public works, receiving commissions from the Rockefeller Centre in New York in 1949, and the Baltimore Museum of Art in 1950 - though only the latter construction was realized, a hanging sculpture inspired by Alexander Calder (with whom Gabo would exhibit in 1953 at the Wadsworth Athaeneum) and Rodchenko. Recalling the creation of the sculpture in impoverished, war-torn Moscow, where most of the factories were shut, Gabo stated that he visited the mechanical workshop of the Polytechnicum Museum, where he requisitioned an old electric door bell whose internal electromagnet became the mechanical component of the piece. The Pevsners were a large, tightknit, patriarchal middle-class family, with a strong and charismatic father, Boris, and mother, Fanny. This meant he could incorporate empty spaces into his sculptures. Gabo's engineering training was key to the development of his sculptural work that often used machined elements. Like all the most important artists, his work and his life were fundamentally shaped by the era in which he lived, and helped to define that era in turn. He went on to produce a significant and varied body of graphic work, including much more elaborate and lyrical compositions, until his death in 1977. Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.236-7, reproduced p.236, Celluloid and plastic, 5 5/8 x 3 3/4 x 3 3/4 (14.4 x 9.4 x 9.4), , Tate Gallery, November 1976-January 1977 (17, repr. Hammer, Martin and Naum Gabo, Christina Lodder. Gabo held a utopian belief in the power of sculpturespecifically abstract, Constructivist sculptureto express human experience and spirituality in tune with modernity, social progress, and advances in science and technology. By using nylon, a new, synthetic material whose elasticity, smoothness and translucency defined the feel of this sculpture, Gabo again demonstrated his engagement his interest in using new, man-made compositional materials. 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-Cration group. Naum Gabo, ein russischer Konstruktivist in Berlin 1922-1932: Skulpturen, Zeichnungen und Architekturentwrfe, Dokumente und Archive aus der Sammlung der Berlinischen Galerie, ed. Sure enough, the piece generates a marked contrast between the rough texture of the untreated stone and the two smooth, shelf-like planes chiselled into it, which snake horizontally around it, interconnecting when viewed from above. Gabo made preliminary designs for Column in 1921 with the idea of making it into a large public sculpture, towering over the hills near Moscow. Gabos vision is imaginative and passionate. ", "Sculpture personifies and inspires the ideas of all great epochs. The two brothers decided that the exhibition should be accompanied by a proclamation of their artistic ambitions, The Realistic Manifesto. At the same time, it is perhaps the most literal of Gabo's Kinetic sculptures - he called it more of an "explanation of the idea than a Kinetic sculpture itself" - and he progressed from here to works that suggested rather than embodied movement, through their dynamic arrangement of form and space. Does this text contain inaccurate information or language that you feel we should improve or change? Gabo had been in regular correspondence with Alfred H. Barr, founding director of the Museum of Modern Art in New York, later resulting in unrealized plans for a major exhibition of Gabo's work, and Gabo planned to resettle in the USA. In 1912 Gabo transferred to an engineering school in Munich where he discovered abstract art and met Wassily Kandinsky and in 1913-14 joined his brother Antoine (who by then was an established painter) in Paris. In 1950, Gabo began wood-block printing, an activity which would occupy him until his death, generating a significant body of work. He lacked confidence in his art, and there were tensions and jealousy between him and his brother. Naum Gabo biography. ", "I have chosen the absoluteness and exactitude of my lines, shapes and forms, in the conviction they are the most immediate medium for my communication to others of the rhythms and states of mind I would wish the world to be in. Gabo's striking designs for the Palace constitute one of his most important creative works, and are a remarkable achievement given his lack of architectural training. Indeed, his. His influence was important to the development of modernism within St Ives, and it can be seen most conspicuously in the paintings and constructions of John Wells and Peter Lanyon, both of whom developed a softer more pastoral form of Constructivism. Around this time, he also saw many Post-Impressionist and Cubist works in Russia, where the entrepreneur and art-collector Sergei Shchukin exhibited his European collection regularly. A reverse structure, and a kind of companion piece, to Linear Construction in Space No. Gabo wrote to the Addison Gallery on 13 March 1949: 'I don't know whether I need to emphasise that this work of mine is of great importance not only to my own development, but it can be historically proved that it is a cornerstone in the whole development of contemporary architecture. This was an adventurous approach to the concept of load-bearing in architecture, a job that would generally be performed by distinct components such as beams or ribs. Gabo exhibited, alongside many of his compatriates, in the ground-breaking Abstract and Concrete show at London's Lefvre Gallery in 1936, and in 1937 he co-edited the hugely influential compendium of Constructivist art Circle, with Ben Nicholson and the architect Leslie Martin. Gabo became acquainted with the multitude of Russian artists who had returned after the Revolution, engaged in the collective frenzy of attempting to express the spirit of Soviet society in art. Gabo made preliminary designs for Column in 1921 with the idea of making it into a large public sculpture, towering over the hills near Moscow. After making the large version, Gabo also made three models in plastic about 25.4cm high which belong to Sir Leslie Martin, Cambridge, Yale University Art Gallery, New Haven, and Nina S. Gabo, London. Artist: Naum Gabo, American, born Russia, 18901977 Model of the Column (formerly Model for Glass Fountain) ca. Lost in the Detail: Naum Gabo's Monoprints. The model, like the later piece, is made of glass, plastic, and metal. This show featured over 700 works, including paintings, sculptures, set designs, and architectural models, and was a significant event in the reception of Constructivism in Northern Europe. The construction was therefore intended precisely to demonstate a scientific principle, and as a more sophisticated, scientifically accurate rendering of motion than the Futurists had managed with their rather excitable paintings. For Gabo, the string literally constitutes the surface of the sculpture, replacing his earlier practice of scoring lines onto Perspex. Linear Construction in Space No. In this sense, the work represented Gabo's lingering commitment to Soviet utopian ideals, even this late into Russia's socialist experiment. Naum Gabo's structurally complex, mesmeric abstract sculptures cast a shadow over the whole of 20 th-century art, while his life was that of the quintessential creative migr, as he moved from country to country seeking new contexts for his work, in flight from war and repression. He later recalled that though such works had a profound effect on him, they "were all dead", and "it was nature that impressed him, not art". The transparent planes build upon and reveal the sections below, suggesting emergence and growth. Model for 'Column' was created in 1921 by Naum Gabo in Constructivism style. By working with the technical precision of an engineer or architect, and by illustrating new scientific concepts, Gabo predicted the functionalist aesthetic of the nascent Constructivist movement - the work of Alexander Rodchenko and others - and of Concrete Art, Kinetic Art, and other post-Constructivist movements of the mid-to-late-20th century. These include Constructie, an 81-foot commemorative monument in front of the Bijenkorf Department Store (1954, unveiled in 1957) in Rotterdam, and Revolving Torsion, a large fountain outside St Thomas Hospital in London. [1] He famously explored the former idea in his Linear Construction works (1942-1971)used nylon filament to create voids or interior spaces as "concrete" as the elements of solid massand the latter in his pioneering work, Kinetic Sculpture (Standing Waves) (1920), often considered the first kinetic work of art.[4][5]. All Rights Reserved, Gabo on Gabo: Texts and Interviews Paperback - April, 2002, Constructing Modernity: The Art & Career of Naum Gabo, Naum Gabo: The constructive idea; sculpture, drawings, paintings, monoprint, 'Absolute' Art Discussed Here by Naum Gabo, Naum Gabo and the Quandaries of the Replica, TateShots: Interview with the artist Naum Gabo's daughter, Naum Gabo & Antoine Pevsner - The Realistic Manifesto (Manifesto Extract, 1920), Transcript of interview of Naum Gabo by Gunnar Jespersen, Gabo believed that art should have an explicit and functional value in society. Less publicly, he derided Tatlin for "playing around with engineering forms and materials". Naum Gabo Column 1921 - 1922/75 The Work of Naum Gabo Nina and Graham Williams Biography Born 1890 Died 1977 Nationalities Russian American Birth place Klimovichi Death place Waterbury Gabo was born in Russia and trained in Munich as a scientist and engineer. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). One of Gabo's most important discoveries was that empty space could be used as an element of sculpture. To find any part of machinery was next to impossible". His older brother was fellow Constructivist artist Antoine Pevsner; Gabo changed his name to avoid confusion with him. By incorporating moving parts into his sculpture, or static elements which strongly suggested movement, Gabo's work stands at the forefront of a whole artistic tradition, Kinetic Art, which uses art to represent time as well as space. The two interlocking vertical planes in this piece, for example, generate a rectangular form without creating a solid rectangle. Wassily Kandinsky's revelatory book on abstract art, Concerning the Spiritual in Art (1912), was gaining currency at this time, and fomented Gabo's interest in representing the structures and forces of nature. Exh: They were often projects for monumental public schemes, rarely achieved, in which sculpture and architecture came together. This move gave Naum the excuse he had craved to abandon his studies and concentrate on his art. Gabo's influence on modern art has been profound, though it is sometimes underemphasized in art history books. Naum Gabo, Annely Juda Fine Art, London, 1999. His first print was a wood engraving in a section of wood taken from a piece of furniture and printed onto a piece of toilet paper. Nonetheless, in 1946, he and his new family finally made the long-awaited move to the USA, mainly on the promise of finding a more lucrative market for Gabo's work. In the calmness at the still centre of even his smallest works, we sense the vastness of space, the enormity of his conception, time as continuous growth." "Inspiration: a functional approach to creative practice", "V&A conservators race to preserve art and design classics in plastic", https://en.wikipedia.org/w/index.php?title=Naum_Gabo&oldid=1133235691, Honorary Knights Commander of the Order of the British Empire, Members of the American Academy of Arts and Letters, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License 3.0, This page was last edited on 12 January 2023, at 20:48. Lost in the Detail: Naum Gabo's Monoprints. During this time he won acclamations by many critics and awards like the $1000 Mr and Mrs Frank G. Logan Art Institute Prize at the annual Chicago and Vicinity exhibition of 1954. With the onset of World War I, Gabo and his younger brother Alexei, also based in Germany, fled via Copenhagen to neutral Norway, partly to avoid serving in the Imperial Army, and partly because, as Russian nationals, they were suddenly pariahs in their new home. The full text of the article is here , Two Cubes (Demonstrating the Stereometric Method), Model for 'Construction in Space, Suspended', Construction in Space with Crystalline Centre, Model for 'Construction in Space 'Two Cones''. After visiting London in 1935, Gabo settled in England the following year. As in the earlier Linear Construction, space is contained without being filled, a new and elegant way of emphasizing volume independently of mass. 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. The mid-1930s was an important period for British Constructivism, and Gabo and his associates wanted the world to know that the avant-garde had shifted from its Parisian base. During this time he won acclamations by many critics and awards like the $1000 Mr and Mrs Frank G. Logan Art Institute Prize at the annual Chicago and Vicinity exhibition of 1954. The same year, he became a citizen of the United States, and in 1953 the family moved to Middlebury, Connecticut. On this Wikipedia the language links are at the top of the page across from the article title. Showing his openness to new techniques and influences, Gabo inscribed dynamic rhythms into the surfaces of stone - his new-found fascination with this material would occupy him until his death. Perspex and nylon - Collection of the Tate, United Kingdom. The exactness of form leads the viewer to imagine journeying into, through, over and around his sculptures. [2][3] Two preoccupations, unique to Gabo, were his interest in representing negative space"released from any closed volume" or massand time. My works of this time, up to 1924 , are all in the search for an image which would fuse the sculptural element with the architectural element into one unit. This piece of sculpture by Naum Gabo is a model for a larger piece he completed in 1923 called Column. They were often projects for monumental public schemes, rarely achieved, in which sculpture and architecture came together. In breaking down the boundaries between sculpture and architecture, integrating engineering techniques and scientific concepts into his creative process, and using industrial materials, he made a vital contribution to the development of Constructivist aesthetics. Naum gabo artwork Rating: 4,3/10 1459 reviews. The fact that it was intended as a model for a building exemplifies the Constructivist concern with giving art a functional purpose. 2022-10-21. Visit the Frank Lloyd Wrightdesigned Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. In 1912 Gabo transferred to an engineering school in Munich where he discovered abstract art and met Wassily Kandinsky and in 1913-14 joined his brother Antoine (who by then was an established painter) in Paris. Naum gabo artwork. Gabo worked through various movements and ideas, eventually settling in the United States after the Second World War. Naum Gabo's structurally complex, mesmeric abstract sculptures cast a shadow over the whole of 20 th-century art, while his life was that of the quintessential creative migr, as he moved from country to country seeking new contexts for his work, in flight from war and repression. This is a relatively simple construction by Gabo's standards, consisting of a plain steel rod affixed to a wooden base. Finished in St. Ives, it is one of a number of stone works from this period which represent Gabo's first experiments with the time-honored technique of direct carving. Subtitled International Survey of Constructivist Art, Circle featured important critical statements as well as reproductions of key artworks, and reflected a cultural optimism that the impending conflict in Europe had yet to diminish. 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-Cration group. 20 separate versions exist of this sculpture, strung together in complex and delicate configurations, light catching the nylon filament to emphasize what Gabo called a "sense of immateriality". Whereas the Tate's model has a red base, the bases of the others are either black or (in the case of Nina Gabo's version) stainless steel. Foregoing the superficial abstractions of the Cubists and Futurists, and rejecting propagandist realism, the new art would use sculptural forms to present "depth" (empty space) rather than mass, and generate "kinetic rhythms" which would represent the element of time as well as the element of space. Artwork page for Spiral Theme, Naum Gabo, 1941 When Spiral Theme was shown in wartime London, it was greeted with popular acclaim. Naum Gabo Column 1921 - 1922/75 The Work of Naum Gabo Nina and Graham Williams Biography Born 1890 Died 1977 Nationalities Russian American Birth place Klimovichi Death place Waterbury Gabo was born in Russia and trained in Munich as a scientist and engineer. The essence of Gabo's art was the exploration of space, which he believed could be done without having to depict mass. He incorporated principles from engineering and architecture into his creative explorations, and used his sculptures to describe and demonstrate new scientific concepts such as Einstein's space-time relativity. He devised systems of construction which were not only used for his elegantly elaborate sculptures but were viable for architecture as well. Content compiled and written by The Art Story Contributors, Edited and revised, with Summary and Accomplishments added by Greg Thomas, Kinetic Construction (Standing Wave) (1920), Submitted Design for Palace of Soviets: Plan of Main Hall and Section (1931), Linear Construction in Space No. In the manifesto Gabo criticized Cubism and Futurism as not becoming fully abstract arts and stated that the spiritual experience was the root of artistic production. The same year he was introduced to Miriam Israels, who he would marry in 1937, with Nicholson and Hepworth as witnesses. 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". Set within the Perspex planes are opaquely colored, geometric floating shapes, and an open ring. Naum Gabo, KBE 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. See the renowned permanent collection and special exhibitions. 1928, rebuilt 1938 Perspex and plastic on aluminum base 27 11.3 10 cm (10 5/8 4 7/16 3 15/16 in.) His scientific training would be put to good use in his later sculptural constructions, and it was in Munich that he became fascinated with Einstein and Bergson's radical theories of time. He would later remark that "if anyone made me a Jew, it was Hitler". But this piece has its origins in the heady post-revolutionary atmosphere of early 1920s Moscow, where sculptors were attempting to apply the abstract visual vocabulary of the Suprematist painter Kazimir Malevich to three-dimensional art. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet. These earliest constructions originally in cardboard or wood were figurative such as the Head No.2 in the Tate collection. The critic Herbert Read hailed it as 'the highest point ever reached by the aesthetic intuition of man'. He made the first of a series of small, three-dimensional models, using glass, metal and new plastics the following year but owing to the size and nature of the work, and the unstable nature of new plastics, he was unable to (German) Naum Gabo, 1890-1977, Annely Juda Fine Art, London, 1990. 2 is one of a set of early figurative works by Gabo now seen to have revolutionized sculpture. Inspired by his war-time associates Moore and Hepworth, Gabo wanted to see if he could generate the sense of kinetic rhythm which his work relied on whilst utilizing a more conventional approach to sculpture. By the time he reached England in 1936 Gabo was an internationally recognized artist, and he was welcomed warmly by British artists and critics such as Barbara Hepworth, her future husband Ben Nicholson, and Herbert Read, many of whom Gabo had met in Paris through Abstraction-Cration. Meeting Trotsky on more than one occasion, during the early 1920s Gabo worked for the new Department of Fine Arts (IZO), dominated by abstracts artists at this time, which led him to work on a new art education program for schools, and on the single issue of the department Journal, Izo. It was in Munich that Gabo attended the lectures of art historian Heinrich Wlfflin and gained knowledge of the ideas of Einstein and his fellow innovators of scientific theory, as well as the philosopher Henri Bergson. His sculptures initiate a connection between what is tangible and intangible, between what is simplistic in its reality and the unlimited possibilities of intuitive imagination. Gabo grew up in a Jewish family of six children in the provincial Russian town of Bryansk, where his father Boris (Berko) Pevsner worked as an engineer. Naum Gabo Model for Column 19201 The Work of Naum Gabo Nina & Graham Williams / Tate, London 2023 License this image Not on display Artist Naum Gabo 18901977 Medium Plastic (cellulose nitrate) Dimensions Object: 143 95 95 mm Collection Tate Acquisition Presented by the artist 1977 Reference T02167 Display caption Catalogue entry But while his artist comrade Vladimir Tatlin created raw, crudely assembled reliefs, Gabo's works were delicate and precise; at the same time, they had a distinct mechanical aesthetic, indicating his enduring fascination with science and engineering. Ren Descartes' Meditations on First Philosophy is a philosophical treatise that was published in 1641. Gabo wrote his Realistic Manifesto, in which he ascribed his philosophy for his constructive art and his joy at the opportunities opened up by the Russian Revolution. The books and articles below constitute a bibliography of the sources used in the writing of this page. He attended the local gymnasium in Kursk, before moving to Munich in 1911 to study medicine at his father's insistence, later recollecting that this was partly due to his ability to heal his mother's headaches with his hands. Jrn Merkert, Berlin: Berlinische Galerie, 1989, 158 pp. (London 1957), note between pls.25 and 26, and p.183. The dynamic arrangement of string-work and Perspex creates three-dimensional light patterns which transform as the viewer moves around the object. An illusion of movement is created as the smooth, wave-like shapes seem to advance and recede. Though he was to live in self-imposed exile in Europe and America for most of his adult life, he always lamented his distance from Russia, where he claimed his "consciousness was moulded". Then, many years later, the discovery that suitable glass was now made by Pilkington's made it practicable for him in 1975 to construct two enlarged versions 194cm high in stainless steel, glass and perspex, including one for the Louisiana Museum at Humlebaek in Denmark. In 1976, Gabo's Revolving Torsion sculpture was unveiled by Queen Elizabeth II at the opening of St Thomas's Hospital in Central London. Again, this sculpture represents a creative departure from Gabo's previous work. With the four versions of Spiral Theme Gabo discovered a new aspect of his creative register, the pieces' graceful, organic forms supplanting the geometric planes and precision of works such as Column, and perhaps reflecting his new creative friendships with artists like Barbara Hepworth. 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.

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