상절지백 가족님들... 죄송함다. 부탁 드릴께요..

[상준]

상절지백 가족님들...

제가 이거 꼭 해석해야 거든요..

근데 제가 머리가 좀 짧아서요... 님들의 도움이 꼭 필요 함다.

항상 여기서 좋은 정보를 얻지만..제가 도움이 되진 못하네요..

부탁합니다.

한단락씩만 해석해서 리플달아 주셔도...

Greenberg, in a review of the 1948 exhibition, referred to 'Gabos objects, small in format and excessively limited by the notion of neatness'.

His judgement here is affected by his high valuation of the more muscular David Smith
but he is right that Gabo worked best on a modest scale.

and his sculpture is beautiful in the sense that burke in the eighteenth centurydefined beauty, in opposition to the sublime, in terms of smallness, delicacy, and smoothness.


asked by Read in 1944 how he arrived at his forms

Gabo referred to the external world, chiefly landscape, and it is indeed possible to imagine the Cornish coast around St Ives, where he lived, reflected in his work.

it helps, also, despite the different materials they worked with, to explain Gabos closeness to Hepworth in the 1940.

Gabos works, like those of many post- war non-figurative sculptors, have been described as 'constructions',which dose justice to his technique, but is not a substitute for the word sculpture.
if sculpture is used in the modernist sense to define a category of object different from any other kind of object and belonging only to art, then sculpture is what Gabos work is - indeed it is one of the most sensuous and affecting bodies of sculpture this century.
David Thompson, reviewing the 1966 exhibition at the Tate Callery , noted in Gabos work the 'yielding delicacy, fragility and gracefulness of what Constructivism was supposed not to be about - object d art for the connoisseur'.
although born in 1903 and thirteen years younger than Gabo, Barbara Hepworth was close to him when both were living in Cornwall during the war.

Gabo was concerned with transparency, while Hepworths sculpture is solid and hard, made of wood and stone.
Hepworth was inspired by the Cornish coast and the bright clear light which enters sculptures like Pelagos as applied paint, in contrast to the hard shiny wood.

There is common ethos to the work of Gabo, Hepworth, and also Calder, whose sculpture is non-figurative, but lyrical and responsive to sense impressions.
Hepworth described in 1952 looking out to sea from her studio window in St Ives with the coast as a pair of arms encircling the bay at the peripheries of her vision, and pointed to the way this idea of enfolding influenced the shape of Pelagos.

Hepworth wrote and talked about landscape, but she was not a part of the English topographical landscape tradition.
She absorbed characteristic landscape properties-shapes that were open, enclosed, round enfolded-or was guided by a line or contour in nature.
Hepworth had been a member of Abstraction Creation but never fitted closely into the group of artists of similar age, like Max Bill, whose work was more austere and closer to mathematics.

[Go 福 受..^^*]

우아~ 길다~~ 지금 술 먹어서리.. 뵈는게 없다는... 쿨럭... ↓ 이 분이 해주실꺼에요~

[EAT-MAN]

키네틱 아트의 개관자이자 구성주의적 리얼리즘을 추구한 조각가 나움 가보에 대한 글인거 같은데요.예술사와 조각에 대한 기본적 지식과 개념이해가 있어야 좀 더 매끄러운 해석이 가능할것 같습니다.꼬릿말로 금방 댓글 달기엔 좀 역부족입니다. ㅜ.ㅡ

[nowhere=utopia]

1948년 전람의 검토안에 그린버그는 체재안에 작았던....과량적으로 neatness의 관념에 의하여 제한한 Gabos 목표에 언급했다. 여기의 그의 판단은 근육 데비드 스미스의 그의 높은 평가에의해 영향을 미친다 그러나Gabo이 겸손한 가늠자에 잘 일했다......몰라몰라이상해(죄송ㅠㅠ)

[도계주류합동]

영한번역기 써봐서 되면 써 드릴께요. 하나도 모르겠지만... 문명의 힘을 빌려야지.^^

[Go 福 受..^^*]

술 깨도.. 마찬가지였군..-_-; ↓ 이 분을 믿어보죠~^^

[♡감자♡]

헉!! ↓이분이 해주신데요..-_-;;

[대한민국을빛낼건전한청소년이아람]

- 0 = ;;;;;;;;; 꾸에에엑;; ↓이분이 영어 좀 합니다[!]