Sunday, July 30, 2017

Artist of the day, August 1: El Lissitzky, Russian designer, typographer and architect

Lazar Markovich Lissitzky (1890 – 1941), known as El Lissitzky, was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.

Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia. When only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in collaboration with Van abbemuseum and the leading worldwide scholars, the Lissitzky foundation was established, to preserve the artist's legacy and preparing a catalogue raisonné of the artist oeuvre.




Mr El Lissitzky





1919 Beat the Whites with the Red Wedge



1919, Monument to Rosa Luxemburg


1919, Untitled


Personal letterhead


1920, Communication Workers, Remember the Year 1905


1921, Wendingen, Vol. 4, No. 11


1921, Wendingen, Vol. 4, No. 11


1922, 1st Russian Art Exhibition catalogue


1922


1922, Proun (Study for Proun S.K.).


1923, [title page]


1923, Announcer


1923, Globetrotter (in Time)


1923, Old man (head 2 steps behind)


1923, Part of the Show Machinery


1923, Postman


1923, Proof for a Proun


1923, proposal for a PROUN street celebration


1923, Proun 5 A


1923, Troublemaker


1924, Proun (Project for Progress)


1924, Self-Portrait (The Constructor)


1925. The Isms of Art


1925, The Isms of Art


1927, Cabinet of abstraction


1928, Basic Calculus




First chapter, pg. 7 , in the book Dlia Golosa


For the voice


Kestnermappe Proun (Proun. 1st Kestner Portfolio)


Of two squares


Proun 


Proun


Proun Room Berlin


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The Story of Two Squares


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Veshch cover


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