Page 19 - Studio International - April 1966

Naum Gabo talks about his work

Born Briansk, Russia, 1890 the arts. I went to Paris almost every year. I adored Van
(named Naum Meemia Gogh, much more than Cezanne, though to tell the truth
Pevsner); Munich 1910 —
enrolled first in medical I did not like modern art—neither Cubism nor Futurism—
faculty, transferred to natural because I felt these painters were on the wrong road.
sciences 1911, engineering Most of my paintings are really ideas for constructions. If
studies 1912 (also attended
Möllflin's lectures on history I conceive an image of an experience (perhaps something
of art); visited Italy 1912 and actually experienced, perhaps something I wish to ex-
Paris 1913-14; went with perience) so complicated in content or detail that I know
brother Alexei to Copenhagen
and Oslo 1914; first 'construc- I cannot make it into a construction and put it into space,
tions' 1915, using name of I paint it. Not only that: in my latest work I use kinetics,
Gabo; returned to Moscow so that some of my paintings give the impression of what
1917; first public exhibition
1920 (on Tverskoi Boulevard) space is doing in my sculpture.
and published Realistic The main purpose of my paintings, as of my construc-
Manifesto with brother tions, is space. I could never agree with Mondrian that a
Antoine Pevsner; first con-
struction with motor 1920; left painting should be flat. I used to discuss things with him
Moscow for Berlin 1922; left in London; sometimes, when I looked at a painting on
Germany for Paris 1932; first which he had been working a long time, I would say, 'I
visited London 1935; settled
in England, moved to hope that painting is finished'. 'Oh no,' he would reply,
Cornwall 1939; left England `the white is not flat enough. Too much space in it.' And
for U.S.A. 1946. I told him, 'You cannot destroy space.'
But painting has been secondary for me, of course. My
first childish impulse was sculpture. As a child, because
we lived in a village, I did not see anything that you
would call sculpture. What I did see was the silver rouble.
On one side of the rouble was a bas relief of the Tsar.
That was the first sculpture I was made aware of.
My father's face had always fascinated me—a bold,
strong face. So I thought, 'Why can't I make my father's
portrait, instead of the Tsar's ?' Nearby was a village
where everybody made pottery. I decided to make the
`At first I had stage fright about my show at the TATE. portrait out of clay. Not having any clay I broke two
Perhaps such things are more easily explained through an bricks, rubbed them together, mixed the dust with water,
image than through logic. When I was very young my and made my portrait out of that. Then I hid it. Perhaps
parents used to say in my presence, 'It is only since his I didn't want the family to see it. But that was my first
birth (meaning me) that our fortunes have changed for sculpture.
the better.' This irritated my beyond measure. I was Later I went to Germany to study medicine and en-
afraid their fortune might turn bad and then they would gineering. To my father painting was connected with
accuse me. Perhaps this explains my stage fright. hunger, but eventually he let Antoine go to Kiev, then
I have more friends, friends of myself and my work, the best Russian art school, when he realised that Antoine
here in London than anywhere else. The interest in this could get a diploma and teach at high school. It was at
country is greater than in other countries. There are Kiev that Antoine became a close friend of Archipenko,
serious artists working along the same lines. And perhaps though I never met Archipenko myself. When it came to
I thought they would be disappointed, that they expected my turn, however, my father said, 'I have two engineer-
from me more than I can give. For I have not done a ing sons and one an artist; you must be a doctor.' So I
great deal; I have only made very simple things, made went to Munich.
simple statements, reached a few accords. Yet when I Sculpture, however, remained in my mind, and visit-
saw my sculptures and paintings set out at the gallery so ing Italy was like a great shock, seeing Michelangelo and
well by Mr Brawne, the architect, my stage fright left me. all those works of the Renaissance masters. 'Something
I think my work will stand up. I think I have stood up to has to be done in sculpture,' I felt. What it was I did not
my friends' expectations. know.
You know, sometimes I am a bit hurt that I am known I went on modelling. Once, in Munich, on the way to
only as a sculptor, and that people don't realise that I a lecture, I passed a Negro. His face seemed full of
have always painted, ever since about 1908. My first real suffering. Somehow he gave me the impression of being
drawing was done when I had a picture of Hamlet in my blind. I looked at his face again and again; then I went
mind. But I started drawing from the wrong place— I straight home, took out some clay, and built up that face.
did the helmet first, and there wasn't room on the paper That head exists only in a photograph preserved by Alexei
to finish it. My brother Antoine Pevsner and some of his and reproduced in his biographical sketch.
friends saw that drawing and admired it, and I remember Faces fascinated me. I used to stare at people quite
I was embarrassed by their praise. My younger brother unconsciously. Sometimes I got into trouble because of
Alexei has written about it in his little book on Antoine the habit. I didn't realize that in Germany one must not
and me. stare at another person, particularly a student. Students
When I was a young man I knew what was going on in were always looking for a chance to duel, to get . . . you