Wood engraving on paper
Tate Collection
Works with images
General Collection
Collection
<a href="https://www.tate.org.uk/art/artists/naum-gabo-1137" aria-label="More by Naum Gabo" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Naum Gabo</a>
Opus 7
Bequeathed by Miriam Gabo, the artist's widow 1995
abstraction
geometric
irregular forms
non-representational
<p>In 1935 the Russian-born artist Naum Gabo, a pioneer of abstraction, arrived in England as a refugee. He influenced the development of Modernism in the 1930s and 1940s and was associated with the artists Ben Nicholson and Barbara Hepworth, his neighbours in the fishing village of St Ives during the Second World War. After the war he moved to the USA. There are strong holdings of Gabo's work in the Collection as a result of his stay in England and of his friendship with a previous Tate Director, Sir Norman Reid. Gabo's celebrated geometric constructions (see Archive display) examine the object in space. These wood engravings reflect his sculptural concerns in a two-dimensional format.</p><p><em>Gallery label, August 2004</em></p>
paper print wood engraving
25 January 2020 – 3 May 2020
2020-05-03
25 January 2020 – 3 May 2020
2020-05-03
2020-01-25
Tate St Ives (St Ives, UK)
http://www.tate.org.uk/stives/
2020-01-25
Naum Gabo: Realistic Manifesto
Exhibition
Opus 7
image: 203 × 253 mm
Bequeathed by Miriam Gabo, the artist's widow 1995
<p>In 1935 the Russian-born artist Naum Gabo,  a pioneer of <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-art" title="Glossary definition for 'Abstract art'"><span>abstraction</span></a>, arrived in England as  a refugee. He influenced the development of <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/m/modernism" title="Glossary definition for 'Modernism'"><span>Modernism</span></a> in the 1930s and 1940s and was  associated with the artists Ben Nicholson and Barbara Hepworth, his neighbours in the fishing village of St Ives during the Second World War. After the war he moved to the USA. 
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There are strong holdings of Gabo's work in the Collection as a result of his stay in England and  of his friendship with a previous Tate Director,  Sir Norman Reid. Gabo's celebrated geometric  constructions (see Archive display) examine the object in space. These <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/w/wood-engraving" title="Glossary definition for 'Wood engraving'"><span>wood engravings</span></a> reflect his <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/s/sculpture" title="Glossary definition for 'Sculpture'"><span>sculptural</span></a> concerns in a two-dimensional format. </p>
Display caption
2004-08-18T00:00:00
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<p>
<b>Naum Gabo 1890-1977</b>
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<p><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/gabo-opus-7-p11388" title="View the details of this artwork"><span>P11388</span></a> Opus 7 1956-73</p>
<p>Inscribed ‘Gabo’ b.r.<br/>Wood-engraving, 12 x 9<b>¿</b> (30<b>.</b>5 X 23<b>.</b>8) on Japanese paper, 22 x 15<b>¿</b> (55<b>.</b>8 x 39<b>.</b>8).<br/>Presented by the artist 1971.</p>
<p>When writing on 28 April 1968 about his previous prints ‘Opus 1–6’, the artist said: ‘since then I have not had the time to do any more engraving or printing.’ This print is therefore later (though he cannot remember its exact date). He afterwards told the compiler that he is making three more prints, all of which were started in the 1970s, and that he hopes eventually to publish his prints in a set of ten in an album. So far he has only printed twenty-five of each as he does all his printing himself, with his hands, and finds this a slow and laborious undertaking; he may nevertheless increase the size of the edition later on. Each impression is different and therefore unique.</p>
<p>Published in<i> The Tate Gallery Report 1970–1972</i>, London 1972.</p>
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Catalogue entry
2012-07-27T00:00:00
catalogue-entry
CATALOGUE_ENTRY
abstraction geometric irregular forms non-representational