November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), was a Russian artist, designer, photographer, typographer, polemicist and … But by the early 1920s, the young artist had moved away from figural art and into abstraction. The second Proun series, printed in Hanover in 1923, was a success, utilizing new printing techniques. info); November 23 [O.S. His first designs appeared in the 1917 book, Sihas hulin: Eyne fun di geshikhten (An Everyday Conversation), where he incorporated Hebrew letters with a distinctly art nouveau flair. In 2014, the heirs of the artist, in collaboration with Van Abbemuseum and leading worldwide scholars on the subject, established the Lissitzky Foundation in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre. Among the supporters were the artists El Lissitzky, Naum Gabo, and Antoine Pevsner. Lissitzky experimented with new technologies and media, developing a style that helped define 20th-century propaganda and modern graphic design. El Lissitzky was born Eleazar Markovich Lisitskii, in the town of Pochinok, a small, heavily Jewish-populated community in the western region of the former Russian Empire. [20][22] Lissitzky and the entire group chose to share credit and responsibility for the works produced within the group, signing most pieces with a black square. [26] Later on, he met Sophie Küppers, who was the widow of Paul Küppers, an art director of the kestnergesellschaft at which Lissitzky was showing, and whom he would marry in 1927. A key figure in the vanguard of Bolshevik artists who shaped the aesthetic program of Soviet Russia, El Lissitzky was a pioneer of design, architecture, typography, and installation art. Originally published in Merz no. [43], Lenin Tribune, 1920. While he passed the entrance exam and was qualified, the law under the Tsarist regime only allowed a limited number of Jewish students to attend Russian schools and universities. El Lissitzky, byname of Eliezer Lissitzky, also spelled Elizar Lissitzky, Russian in full Lazar Markovich Lisitsky, Yiddish Lasar Markowitsch Lissitzky, (born November 11 [November 23, New Style], 1890, Pochinok, near Smolensk, Russia—died December 30, 1941, Moscow), Russian painter, typographer, and designer, a pioneer of nonrepresentational art in the early 20th century. More than 89,000 works are currently available online. In September 2007 the city commission (Moskomnasledie) approved the request and passed it to the city government for a final approval, which did not happen. 5, no. [14] Malevich would bring with him a wealth of new ideas, most of which inspired Lissitzky but clashed with local public and professionals who favored figurative art and with Chagall himself. ... late 1920s and early 1930s were some of Lissitzky's most progressive years as he experimented with new media such as typography, photography, and photomontage while he continued to produce innovative architectural designs. Mar 10, 2019 - This Pin was discovered by Dalm. A series of eight such structures was intended to mark the major intersections of the Boulevard Ring in Moscow. The full text of NASCI (Merz No. By the end of 1937 the "apparent simplicity" of Lissitzky's artwork aroused the concerns of the political supervisors, and Lissitzky responded: "The simpler the shape, the finer precision and quality of execution required... yet until now [the working crews] are instructed by the foremen (Oltarzhevsky and Korostashevsky), not the authors" (i.e. Suprematic tale about two squares, Estorick Collection of Modern Italian Art, First Russian Art Exhibition, Berlin 1922, https://en.wikipedia.org/w/index.php?title=El_Lissitzky&oldid=999772868, Congrès International d'Architecture Moderne members, Short description is different from Wikidata, Articles containing Russian-language text, Articles containing Yiddish-language text, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SIKART identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with TePapa identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 11 January 2021, at 22:00. In Berlin he also met and befriended many other artists, most notably Kurt Schwitters, László Moholy-Nagy, and Theo van Doesburg. In 1984 (a fitting Orwellian year for celebrating utopia) Paul Groenendijk and Piet Vollaard issued a set of five avant garde architectural cut-out and paste-up models, of which the Tribune was one. There he also took up work as a writer and designer for international magazines and journals while helping to promote the avant-garde through various gallery shows. When only 15 he started teaching, a duty he would maintain for most of his life. This ambition laced all of his work, particularly in his later years. A key figure in the vanguard of Bolshevik artists who shaped the aesthetic program of Soviet Russia, El Lissitzky was a pioneer of design, architecture, typography, and installation art. In development since 1915, suprematism rejected the imitation of natural shapes and focused more on the creation of distinct, geometric forms. There he went to the Smolensk Grammar School. He stated: "The artist constructs a new symbol with his brush. Chagall also invited other Russian artists, most notably the painter and art theoretician Kazimir Malevich and Lissitzky's former teacher, Yehuda Pen. El Lissitzky. One communicates meanings through the convention of words; meaning attains form through letters.3. Lissitzky received his initial art training in Vitebsk (now Vitsyebsk, Belarus), Later, Lissitzky defined them ambiguously as "the station where one changes from painting to architecture. your own Pins on Pinterest All eight buildings were planned identically, so Lissitzky proposed color-coding them for easier orientation. At this point Lissitzky subscribed fully to suprematism and, under the guidance of Malevich, helped further develop the movement. The design of the book-space, set according to the constraints of printing mechanics, must correspond to the tensions and pressures of content.5. [39], In June 1938, he was only one of seventeen professionals and managers responsible for the Central Pavilion;[40] in October 1938, he shared the responsibility for its Main Hall decoration with Vladimir Akhmetyev. Thus, where there is not sufficient land for construction, a new plane created in the air at medium altitude should be preferred to an American-style tower. El Lissitzky was a Russian designer whose ideas inspired and innovated typography and graphic identity in the twentieth century. Levnis and Chapman GmbH Hannover #5, 1923, Soviet artist, designer, photographer, teacher, typographer and architect, всё движется, заводится, электрифицируется, The opera was produced without original orchestral music - Shatskikh, 98. In June 1926, Lissitzky left the country again, this time for a brief stay in Germany and the Netherlands. [13] The move coincided with the opening of the first art exhibition in Vitebsk directed by Chagall. The words on the printed surface are taken in by seeing, not by hearing. 1. El Lissitzky (1890-1941) was an artist, designer, photographer, typographer, polemicist and architect. For the cover of the 1922 book Arba'ah Teyashim (Four Billy Goats; cover), he shows an arrangement of Hebrew letters as architectural elements in a dynamic design that mirrors his contemporary Proun typography. 1923 MoMA The project was plagued by delays and political interventions. [5] Also in 1912 some of his pieces were included for the first time in an exhibit by the St. Petersburg Artists Union; a notable first step. [39] His artwork, as described in 1937 proposals, completely departed from the modernist art of the 1920s in favor of socialist realism. Lissitzky first announced his plan to write a “suprematist tale ” about two intergalactic squares while teaching graphic arts and printmaking at the Vitebsk Institute of Popular Art in 1920. El Lissitzky was a Russian avant-garde artist and polemicist who utilized art in order to initiate various social and political changes. Suprematism at the time was conducted almost exclusively in flat, 2D forms and shapes, and Lissitzky, with a taste for architecture and other 3D concepts, tried to expand suprematism beyond this. Typography. The image of the red wedge shattering the white form, simple as it was, communicated a powerful message that left no doubt in the viewer's mind of its intention. El Lissitzky, Russian painter, typographer, and designer, a pioneer of nonrepresentational art in the early 20th century. Artistic groups formed, split, and formed splinter groups. El Lissitzky organisiert schwerpunktmäßig internationale Ausstellungen und publiziert zahlreiche Kinderbücher. To make full use of it, the Soviet program designed by Lissitsky revolved around the theme of a film show, with nearly continuous presentation of the new feature films, propagandist newsreels and early animation, on multiple screens inside the pavilion and on the open-air screens. The Film of Life. El Lissitzky stirbt am 30. info); November 23 [O.S. [23], The group, which disbanded in 1922, would be pivotal in the dissemination of suprematist ideology in Russia and abroad and launch Lissitzky's status as one of the leading figures in the avant garde. [20][21] Under the leadership of Malevich the group worked on a "suprematist ballet", choreographed by Nina Kogan and on the remake of a 1913 futurist opera Victory Over the Sun by Mikhail Matyushin and Aleksei Kruchenykh. A few weeks later he was diagnosed with pulmonary tuberculosis; in February 1924 he relocated to a Swiss sanatorium near Locarno. The words on the printed surface are taken in by seeing, not by hearing.2. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), was a Russian artist, designer, photographer, typographer, polemicist and architect. He left in 1909 to study architectural engineering at the Technische Hochschule in Darmstadt, Germany. The new Provisional Government repealed a decree that prohibited the printing of Hebrew letters and that barred Jews from citizenship. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), was a Russian artist, designer, photographer, typographer, polemicist and architect. He helped develop suprematism along with Kazimir Malevich, who was also his mentor. Tolstoy, 57-58 provides verbatim copies of relevant government decrees dated June 1927. von El Lissitzky, und eine große Auswahl ähnlicher Bücher, Kunst und Sammlerstücke erhältlich auf ZVAB.com. This was intended to display contemporary Russian art to Western Europe. “The artist constructs a new symbol with his brush. Lissitzky ultimately favoured Malevich's suprematism and broke away from traditional Jewish art. Each tower faced the Kremlin with the same facet, providing a pointing arrow to pedestrians on the streets. [6] During this work, he took an active and passionate interest in Jewish culture which, after the downfall of the openly antisemitic Tsarist regime, was experiencing a renaissance. In these works, the basic elements of architecture – volume, mass, color, space and rhythm – were subjected to a fresh formulation in relation to the new suprematist ideals. The piece is often seen as alluding to the similar shapes used on military maps and, along with its political symbolism, was one of Lissitzky's first major steps away from Malevich's non-objective suprematism into a style his own. [16] Lissitzky designed On the New System of Art by Malevich, who responded in December 1919: "Lazar Markovich, I salute you on the publication of this little book". In der Zeit von 1931 bis 1941 arbeitet er mit seiner Frau Sophie Lissitzky-Küppers an der Zeitschrift "UdSSR im Bau". Feb 20, 2013 - Our evolving collection contains almost 200,000 works of modern and contemporary art. Wikipedia entry Introduction Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. 2. His innovations in typography, advertising, and exhibition design were particularly influential. [38], In 1937, Lissitzky served as the lead decorator for the upcoming All-Union Agricultural Exhibition, reporting to the master planner Vyacheslav Oltarzhevsky but largely independent and highly critical of him. In 1921, roughly concurrent with the demise of UNOVIS, suprematism was beginning to fracture into two ideologically adverse halves, one favoring Utopian, spiritual art and the other a more utilitarian art that served society. The red wedge symbolized the revolutionaries, who were penetrating the anti-Communist White Army. He took a job as a cultural representative of Russia and moved to Berlin where he was to establish contacts between Russian and German artists. Upon his return to Moscow, Lissitzky attended the Polytechnic Institute of Riga, which had been evacuated to Moscow because of the war,[7] and worked for the architectural firms of Boris Velikovsky and Roman Klein. [9] Visual representations of the hand of God would recur in numerous pieces throughout his entire career, most notably with his 1924[10] photomontage self-portrait The Constructor, which prominently featured the hand. Apr 12, 2018 - Explore José Contreras's board "El Lissitzky" on Pinterest. The supernatural reality of the perfected eye.6. El Lissitzky was a Russian born artist, designer, typographer, photographer and architect who designed many exhibitions and propaganda for the Soviet Union in the early 20th century. The continuous sequence of pages: the bioscopic book.7. El Lissitzky’s About Two Squares is not most children’s books. [11] The quantity of these posters is sufficient to regard them as a separate genre in the artist's output.[12]. [28][29], Lissitzky argued that as long as humans cannot fly, moving horizontally is natural and moving vertically is not. The year after the publication of his first Proun series in Moscow in 1921, Schwitters introduced Lissitzky to the Hanover gallery kestnergesellschaft, where he held his first solo exhibition. The iconic statue of Stalin in front of the central pavilion was proposed by Lissitzky personally: "this will give the square its head and its face" (Russian: Это должно дать площади и голову и лицо). 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