Find all the books, read about the author, and more. Eliezer lissitzky was born november 11, 1890 in pochinok, near smolensk, russia. He was an important figure of the russian avantgarde, helping develop suprematism with his mentor, kazimir malevich, and designing numerous exhibition displays and propaganda works for the soviet union. His work with book and periodical design was perhaps some of his most accomplished and influential. Having first trained in engineering and architecture and later becoming a painter and illustrator, his creative activity ranged across disciplines. He enrolled in the department of architecture at the technische hochschule. Find more prominent pieces of design at best visual art database.
He was an important figure of the russian avantgarde, helping develop suprematism with his mentor, kazimir malevich. Lissitzky also devoted more effort to theorizing what he called the architecture of the book than to any other single issue, publishing statements in 1919, 1923, 1927 and 1931 that demonstrate a consistency otherwise lacking from his incredibly varied career. These books were lissitzkys first major foray in book design, a field that he would greatly influence over the course of his career. The design of the bookspace, set according to the constraints of printing mechanics, must correspond to the tensions and pressures of content. Futurist beginnings in this section ofthe web site, a book design showing lissitzkys youthful. Proun means proekt utverzdeniya novogo design for the confirmation of the new.
Influenced by post world war one russia, and movements such as constructivism, suprematism, bauhaus, dada and in reaction to communism and poverty, lissitzky upheld a new approach at understanding design, type and. He made important contributions to art, architecture, and the field of graphic design. Completely different from his 1991 cowboy boot book, and a quartercentury newer. Lissitzky, by contrast, controlled all aspects of his book art and incorporated into its architectural design a revolutionary subtext. Lissitzky also designed and managed on site less demanding exhibitions like the 1930 hygiene show in dresden.
The book is illustrated with numerous photographs by lissitzky. The design of the book space, set according to the constraints of printing mechanics, must correspond to the tensions and pressures of content. The design of the book space using process blocks which issue from the new optics. Design hardcover january 16, 2010 by john milner author 4. He designed exhibition displays and propaganda works for the former soviet union. Lissitzkys style reflects his training as an architect in germany before world war i as well as the inspiration of kazimir malevich, a fellow teacher at the vitebsk art. His innovations in typography, advertising, and exhibition design were particularly influential. Proun 19d, made of gesso, oil and varnish, crayon, colored papers, sandpaper, graph paper, cardboard, metallic paint, metal foil on plywood. Along with pavilion design, lissitzky began experimenting with print media again. Lissitzkys innovative and versatile work included many media graphic design, typography, publishing photography, book design, and architecture. Mostly notably he integrated typography and page elements into a new and dynamic compositional style. Lissitzkys photos, photograms, and exhibition design works always the.
See all 4 formats and editions hide other formats and editions. His book designs and typography, in collaboration with the poet. The isms of art 19141924, which lissitzky edited with jean also called hans arp, was one of the most influential book designs of the 1920s because it. He thought of the book as a dynamic object, a unity of acoustics and optics requiring the viewers active involvement. One of his most famous images was beat the whites with the red wedge, done around 1919 as a propaganda poster for the bolsheviks.
Art in the evening lecture and reception 6 pm, june 26 interactive books. Lissitzky was born on november 23, 1890 in pochinok, a small jewish community 50 kilometres 31 mi southeast of smolensk, former russian empire. It does not try to create a movement with just constructivism, however expresses. Lissitzkys constructivist works all give a slight remembrance of the past, while showing revolutionary changes of the future. His work greatly influenced the bauhaus and constructivist movements, and he experimented. His development of the ideas behind the suprematist art movement were very influential in the development of the bauhaus and the constructivist art movements. See more ideas about constructivism, russian constructivism and abstract art. Lissitzky was a russian artist, architect, designer, typographer, and photographer who was active in the avante garde movement that flourished in soviet russia and in germany, until the dominance of soviet realism by 1930 put a stop. He foreordained the development of architecture and design of the xx century.
The book itself testifies to the possibilities and dynamism of the field of design with its unique shape, its playful layout and the witty remarks and quotations throughout. Lissitzky experimented with new technologies and media, developing a style that helped define 20thcentury propaganda and modern graphic design. Gesso, oil, varnish, crayon, colored papers, sandpaper, graph paper, cardboard, metallic paint, and metal foil on plywood. Lissitzky, of lithuanian jewish rigin, began his career illustrating yiddish childrens books in an effort to promote jewish culture in russia. In october 1923, following two years of intensive work, lissitzky collapsed with acute pneumonia which developed into pulmonary tuberculosis. We have named proun the art, stepping over from painting to architecture a station on the path to the construction of the new form. Lissitzky regarded the book as a unity of acoustics and optics that requires the viewers active involvement, and, more than any other medium, he found in the book his monument of the future. Painting, photography, graphic design, architecture, you name itlissitzky was into it. Lissitzky was the herald of the first directionthe total conception of the book, its construction on the title page of dlia golosa he referred to himself as konstructor knigi. Lissitzkys book cover designs between 1922 and 1923 are. Lissitzky received his initial art training in vitebsk now vitsyebsk, belarus.
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