24 July] 1890 – 23 August 1977) was an influential sculptor, theorist, and key figure in Russia's post-Revolution avant-garde and the subsequent development of twentieth-century sculpture.

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-Création group.

[4][5] 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.

In it, he sought to move past Cubism and Futurism, renouncing what he saw as the static, decorative use of color, line, volume and solid mass in favor of a new element he called "the kinetic rhythms (…) the basic forms of our perception of real time.

"[6] Gabo held a utopian belief in the power of sculpture—specifically abstract, Constructivist sculpture—to express human experience and spirituality in tune with modernity, social progress, and advances in science and technology.

[2][3][5] After working on a smaller scale in England during the war years (1936-1946), Gabo moved to the United States, where he received several public sculpture commissions, only some of which he completed.

[1] These include Constructie, a 25-metre (82 ft) 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.

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.

Gabo contributed to the Agit-prop open air exhibitions and taught at 'VKhUTEMAS' the Higher Art and Technical Workshop, with Tatlin, Kandinsky and Rodchenko.

Gabo wrote and issued jointly with Antoine Pevsner in August 1920 a "Realistic Manifesto" proclaiming the tenets of pure Constructivism – the first time that the term was used.

At the outbreak of World War II he followed his friends Barbara Hepworth and Ben Nicholson to St Ives in Cornwall, where he stayed initially with the art critic Adrian Stokes and his wife Margaret Mellis.

It was in Munich that Gabo attended the lectures of art historian Heinrich Wölfflin and gained knowledge of the ideas of Einstein and his fellow innovators of scientific theory, as well as the philosopher Henri Bergson.

Gabo chose to look past all that was dark in his life, creating sculptures that though fragile are balanced so as to give us a sense of the constructions delicately holding turmoil at bay.

Gabo began printmaking in 1950, when he was persuaded to try out the medium by William Ivins, a former curator of prints at the Metropolitan Museum of Modern Art, New York.

[8] Rejecting the traditional notion that prints should be made in editions of identical impressions, Gabo instead preferred to use the monoprint format as a vehicle for artistic experimentation.