The Simplicity of a Constructivist, El Lissitzky - Caroline Kouba

OF A CON STRU CTIV IST

ICITY

IMPL

THE S

EL LISSITZKY

November 23, 1890, Pochinok, Russia - December 30, 1941, Moscow, Russia

El Lissitzky was a Russian architect, photographer, designer, and typographer. His career was based on the belief that he could be an agent for change and create a strong bond through merging art and life. His goal was to use art and design in a way that could communicate even to those who were unable to read or write. He often aimed to establish a visual language using shape and color rather than letterforms.

Beat the Whites with the Red Wedge, 1919.

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The Constructor, 1924.

“The space must be a kind of showcase, a stage, on which the pictures make their appearance as actors in a drama (or comedy). It should not imitate a living space.�

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“The printed page transcends space and time.

The printed page, the infinity of the book, must be transcended.”

Black Chaos.

Front cover for ‘Suprematic tale about two squares,’ 1920.

To all, to all children.

Crash, all scattered.

And on the Black was established Red Clearly.

CHALLENGING ARTISTIC CONVENTIONS Lissitzky challenged artistic conventions by combining architecture and threedimensional space with traditional two-dimensional imagery, creating images with multiple perspectives.

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Do not read this book, take paper…fold, rods…color, blocks of wood…build.

Here are two squares.

From far away, flying towards the Earth.

Thus it ends, further.

Colophon.

Rear cover.

Lissitzky was able to use basic shapes and color palettes to make strong political statements in his work. The way Lissitzky organized space brought a new powerful energy, creating engaging layouts. This was especially prominent in his book work, which felt like cinema through sequencing.

Distinguishing characteristics in this work are seen in his use of diagonal axises, asymmetry, white space, geometric forms, grids, limited color palettes, and repetition. He believed that visual communication could reach the uneducated masses and prompt social and political change.

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CO M

Constructivists emphasized building, rather than expression. They were more interested in construction, rather than being painterly, this art was not emerging from impulsive expression but rather it was being built.

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New Man, 1923.

ONSTRUCTIVISM MOVEMENT Lissitzky was influenced by the Suprematism movement early in his career, but soon wanted to focus on a form of design that offered a dynamic quality from a combination of elements on a diagonal axis. He strived to transform Suprematism from its two-dimensional, ideological alignment, and practicality, into threedimensional considerations of space. This is when he turned to the Constructivism movement, inspiring a new wave of artists who all explored his vocabulary of form, color, and line. He offered a new set of abstract vocabulary that could be used in either visual art graphics, paintings, or architecture.

Sportsmen, 1923.

Globetrotter (in time), 1923.

The Announcer, 1923.

Part of the Show Machinery, 1923.

Anxious People, 1923.

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“El Lissitzky Artworks & Famous Paintings.” The Art

Story. Accessed April 28, 2020. https:// www.theartstory.org/artist/lissitzky-el/ artworks/.

“El Lissitzky Biography, Life & Quotes.” The Art

Story. Accessed April 28, 2020. https://www.theartstory.org/artist/lis sitzky-el/life-and-legacy/#nav.

Designed and written by Caroline Kouba, GD102 Design Basics: Typography and Image, BFA Spring 2020, Charles Melcher.

Composed in Futura designed by Paul Renner, 1927. Published to issuu.com.

Copyright: ©2020 Caroline Kouba, Maine College of Art, Portland, Maine