Summary of El Lissitzky
Russian avant-garde artist El Lissitzky, made a career of utilizing art for social change. In fact, he made the very first abstract work with a political message. Although often highly abstract and theoretical, Lissitzky's work was able speak to the prevailing political discourse of his native Russia, and then the nascent Soviet Union. Following Kazimir Malevich in the Suprematist idiom, Lissitzky used color and basic shapes to make strong political statements. Lissitzky also challenged conventions concerning art, and his Proun series of two-dimensional Suprematist paintings sought to combine architecture and three-dimensional space with traditional, albeit abstract, two-dimensional imagery. A teacher for much of his career and ever an innovator, Lissitzky's work spanned the media of graphic design, typography, photography, photomontage, book design, and architectural design. The work of this cerebral artist was a force of change, deeply influencing modern art including the De Stijl artists and Bauhaus instructors.
- Lissitzky believed that art and life could mesh and that the former could deeply affect the latter. He identified the graphic arts, particularly posters and books, and architecture as effective conduits for reaching the public. Consequently, his designs, whether for graphic productions or buildings, were often unfiltered political messages. Despite being comprised of rudimentary shapes and colors, a poster by Lissitzky could make a strong statement for political change and a building could evoke ideas of communality and egalitarianism.
- He declared that the Proun series existed at "the station where one changes from painting to architecture." The paintings, which combined basic forms grouped together and featuring shifting axes, attempted to provide multiple perspectives of spatial amalgams despite their two-dimensional nature. Lissitzky reasoned that the future of the arts lay in their potential to be integrated. The fusion of drawing, painting, sculpture, architecture, for instance, could be realized with his Prouns. These works may be considered fundamental to the development of modern abstract imagery, and a great influence on acutely industrial modern architecture.
- Lissitzky's influence in the world of graphic design cannot be overstated. He utilized a pared-down palette of primary colors, black and white, text, and basic forms - shapes both real as well as invented geometric constructions - to tell stories, including traditional Jewish tales, and to make very powerful political statements.
- Architecture was Lissitzky's most favored form of artistic expression, yet he had little success realizing his designs, which often bordered on the utopian and impossible. Dreaming of a non-hierarchical architecture unlike that of the emergent skyscraper culture of the capitalist West, Lissitzky's designs for "horizontal skyscrapers" remained forever in the realm of the imagined yet unrealized. For Lissitzky, the egalitarian ideal of Communism demanded such structures. They could serve as material evidence of the realization of such ideals.
Biography of El Lissitzky
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. Lissitzky spent much of his childhood in the town of Vitebsk (also Marc Chagall's hometown), followed by a ten-year stay with his grandparents in Smolensk, near the present-day Belarusian border, where he spent his secondary school years. A prodigious draughtsman even at age thirteen, Lissitzky was noticed by the local Jewish artist Yehuda Pen, who took the boy under his wing. Pen had founded School of Drawing and Painting in Vitebsk and taught many celebrated artists, including Chagall.