El Lissitzky: Inventor of a New World

Contents:

• Prouns
• Ogonyok Magazine Printing House
• Exhibition Space Design
• Design of a Collection of Poems by V. Mayakovsky
• Photo Collages

Lazar Lissitzky, known since 1920 as El, was born in 1890 in the Smolensk province. In his youth, he moved to Vitebsk, where he studied at the school of the artist Yudel Pen. He later continued his education at the architecture department of the Higher Polytechnic School in Darmstadt and received a diploma in engineering and architecture from the Riga Polytechnic Institute. Lissitzky became a significant figure in the world of art and architecture, contributing to the development of the avant-garde movement and the formation of new directions in design.

Between 1916 and 1919, Jewish culture was the focus of Lissitzky's creative work. During this period, he created avant-garde illustrations for Yiddish books and became one of the co-founders of the Kultur-Liga association. These works not only reflected the uniqueness of Jewish heritage but also contributed to the development of contemporary art among Jewish communities. Lissitzky made a significant contribution to the preservation and popularization of Jewish culture through visual art, making him a key figure in the avant-garde movement.

In 1919, Lissitzky began his teaching career in architecture and printing in Vitebsk. At the People's Art School, he collaborated with such prominent artists as Marc Chagall and Kazimir Malevich. Chagall became Lissitzky's mentor in Jewish painting, and Malevich introduced him to Suprematism, a new and original artistic movement that had a significant influence on Lissitzky's work.

Suprematism later became the dominant movement in Lissitzky's work, and he no longer addressed Jewish themes in his works. However, within Suprematism, he sought to identify his own unique aspects, creating not only geometric abstractions but also architectural concepts that reflected his vision of the future. Lissitzky sought new forms of expression that would combine artistic and architectural principles, thereby expanding the boundaries of Suprematism and contributing to the development of modern art.

Lissitzky, who lived through the Revolution and the formation of the Soviet Union, actively explored socio-political aspects in his work. He created propaganda posters, among which his work "Beat the Whites with the Red Wedge" holds a special place. This poster became a classic example of avant-garde art and remains an important element in the history of visual propaganda and political art. Lissitzky's works not only reflected the spirit of the times, but also contributed to the spread of revolutionary ideas.

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The history of one design: "Beat the whites with the red wedge"

Design is not just visual design; it is a powerful tool of communication and expression. An important part of design history is the famous phrase "Beat the whites with the red wedge," which has become a symbol of struggle and resistance. This design embodies not only color schemes but also deep meaning, reflecting the spirit of the times and social change.

Every element of this concept is carefully considered. Red symbolizes strength, passion, and determination, while white represents peace and tranquility. The contrast between these colors creates a powerful visual impact that attracts attention and provokes reflection.

In a modern context, this phrase can be interpreted as a call to action and change. Designers use it as inspiration to create works that raise important social issues. Design becomes a means of expressing opinions and shaping public consciousness.

Thus, the story of one design, based on the phrase "Beat the Whites with the Red Wedge," demonstrates how visual elements can influence society and culture, inspiring change.

A key stage in the avant-garde artist's career was his participation in VKHUTEMAS. From 1925 to 1930, Lissitzky served as head of the department of furniture design and interior design, which allowed it to become the first school of Soviet design. This period was key to the formation of the foundations of modern design in the USSR, as the principles of functionality and aesthetics were laid here, which later became the basis for the further development of design in the country.

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Bauhaus and VKHUTEMAS: History of Design in the 1920s–1930s

The Bauhaus and VKhUTEMAS became key centers in the development of modern design in the 1920s and 1930s. The Bauhaus, founded in Germany, became a symbol of functionalism and an innovative approach to architecture, art, and design. The educational institution brought together various disciplines, which allowed it to create harmonious and practical objects that responded to the demands of the time.

VKhUTEMAS, located in Soviet Russia, also played a significant role in shaping design, contributing to the development of avant-garde art. Unlike the Bauhaus, VKhUTEMAS emphasized the social function of art and its connection to production. It sought to integrate theory and practice, which contributed to the creation of new forms and materials.

Both schools have had a significant influence on the formation of modern design approaches and aesthetics. Their legacy continues to inspire designers and architects around the world, emphasizing the importance of functionality, simplicity, and innovation in art and design. The Bauhaus and VKHUTEMAS remain important examples of how education can transform understanding of design and its role in society.

In this article, we will examine several projects and ideas that made the name of the Soviet avant-garde artist significant in world art. We will discuss key works and their influence on the development of artistic movements, and also discuss the context in which these works were created. Particular attention will be paid to unique concepts that reflect the spirit of the time and an innovative approach to art. These projects not only enriched the cultural heritage but also left a noticeable mark on the history of world art.

Prouns

El Lissitzky, seeking to unite painting and architecture, developed the concept of Prouns, which stands for "projects for the affirmation of the new." In his drawings, he experimented with flat Suprematist elements and also explored volume and space. Lissitzky saw Prouns as "a prototype of the world's architecture," emphasizing his desire to create a new artistic language capable of transforming the perception of architecture and art in general.

Lissitzky masterfully combined geometric planes with three-dimensional objects, creating realistic structures that seemed to float in space. He used specific colors to indicate the density, mass, and texture of various materials, such as metal, glass, wood, and concrete. These techniques allowed him to convey the characteristics of each material more deeply and enhanced the visual expressiveness of his works.

Lissitzky later adapted the compositional solutions used in Prouns for use in design, architecture, and printing. These innovative approaches allowed him to create unique works that combined functionality and aesthetic appeal. Lissitzky actively used geometric shapes and contrasting colors, which made his works iconic for the development of modern art and design.

Printing house of the magazine «Ogonyok»

Lissitzky developed many architectural drawings, but only one of his projects was realized — the printing house of the magazine «Ogonyok», built in Moscow in 1932. This project became a milestone in the city's architectural history and reflects Lissitzky's unique style, which combined functionality with aesthetics. The Ogonyok Printing House not only served as a production facility but also became a symbol of the era in which it was built.

The architect spent just six weeks developing the concept for the future printing house. In this short time, he designed the editorial buildings, the printing shop, the garage, and the transformer substation. The entire architectural composition is executed in a constructivist style, emphasizing the functionality and rationality of modern production solutions.

The design places special emphasis on vertical glazing, as well as a unique combination of two types of windows in one of the buildings—large rectangular ones and small round ones. This solution not only emphasizes the modern architectural style but also ensures maximum natural light and panoramic views. The vertical glazing creates a sense of spaciousness and harmony, making the space more inviting for residents. The combination of different window shapes adds originality and individuality, distinguishing the project from similar offerings on the market.

Currently, this complex is recognized as a cultural heritage site.

Design of exhibition space

Lissitzky, who directed several all-Union exhibitions and was responsible for the USSR pavilions at international exhibitions, introduced an innovative approach to organizing exhibition space. His methods significantly revolutionized traditional exhibition approaches, creating more engaging and functional exhibition spaces.

He was one of the first to transform exhibitions into interactive formats. In the "Cabinet of Abstractions" project, he placed a sculpture in a mirrored corner, allowing viewers to examine it from all angles. In other works, paintings were positioned in niches and covered with blinds, allowing visitors to independently select which artworks they wanted to see. These innovations made exhibitions more engaging and personalized for viewers.

Lissitzky used complex lighting systems and moving mechanisms to design exhibition spaces. This allowed him to transform static displays into dynamic performances, creating a unique experience for viewers. This approach not only attracted attention, but also enhanced the emotional perception of art, making each exhibition memorable.

Design of a collection of poems by V. Mayakovsky

This is another innovative solution by Lissitzky in the field of printing. In 1923, he designed Mayakovsky's collection of poems, "For the Voice," as a reference book. Lissitzky cut a step-like register with titles and pictograms into the edge of the book block, allowing readers to easily find the poems they needed. This approach not only improved navigation through the collection but also became a significant contribution to the development of book design, combining functionality with aesthetics.

The publication is decorated with Suprematist drawings, and the first spread features geometric shapes and the letters Л, Ю, and Б, enclosed in a circle. These initials belong to Lilya Yuryevna Brik, with whom Vladimir Mayakovsky was in love. When read in a circle, the letters combine to form the word "love," emphasizing the depth of his feelings.

In Lissitzky's poems, lines of varying thickness were used to highlight the lines, and words were colored differently and complemented with graphic elements. This approach not only provided a rhythm for the reader but also created an additional visual effect that enhanced the text's impact. Lissitzky used these elements to establish a deeper connection with the reader and draw attention to the work's meaning.

Photo Collages

For Lissitzky, photography did not simply serve as a means of documenting reality, but was a tool for creative experimentation. He created deep and multi-layered images by combining several negatives in a single print. This approach allowed him to explore new boundaries of visual perception and expand the possibilities of photography as an art form.

Lissitzky employed the photogram technique—a camera-free method of creating images based on photochemical action using a lamp and special paper or film. This approach allowed objects in the images to acquire sharper or softer contours, creating unique artistic effects. Photograms became an important tool in contemporary art, combining photography and graphics.

Lissitzky actively employed photo collage to create book covers, magazine covers, posters, and advertising materials. This unique art form allowed him to effectively combine various visual elements, attracting attention and creating expressive compositions. The use of photo collages in design helped Lissitzky stand out in the world of graphic design and had a significant influence on the development of visual communication.

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