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Russian Avant-Garde was born at the start of the 20th century out of intellectual and cultural turmoil. Through the analysis of artworks by Aleksandr Rodchenko and El Lissitzky this essay attempts to explore the freedom experienced by artists after the Russian Revolution in 1917.
Between 1919 and 1927 El Lissitzky produced a large body of paintings, prints, and drawings that he referred to by the word Proun (pronounced pro-oon), an acronym for “project for the affirmation of the new” in Russian.Lissitzky’s 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.
The Russian Jew, Lazar Markovich Lissitzky, better known as El Lissitzky, was not just an artist, designer, photographer, teacher, typographer and architect in one; he StudentShare Our website is a unique platform where students can share their papers in a matter of giving an example of the work to be done.
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Analysis of “Beat the whites with the Red Wedge” by El Lissitzky.. It is quite a personal essay and opinions to describe so it will need to have an artistic view to it since I am an art student and would like to have that approach to it even though it is for a history assignment. Please mention the interwar context and events mentioned.
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After a very successful one-man exhibition of Lissitzky's works at the Kestner-Gesellschaft in Hanover at the beginning of 1923, Lissitzky was commissioned to make a portfolio of colour lithographs as a New Year gift for the members of the Society. As this proved to be greatly in demand, the owner of the lithographic printing-press, Chapman, invited him to make a further portfolio.
Constructor. Self portrait is one of artworks by El Lissitzky. Artwork analysis, large resolution images, user comments, interesting facts and much more.
El Lissitzky wrestled his whole life with this question. As the revolution kept changing, so his protean struggle continued. It took him back and forth across Europe as wars raged, artistic factions battled, and tuberculosis devoured his lungs.
The photographic image was itself produced by superimposing two separate photographs: The Architects Equipment (showing El Lissitzky's hand holding a compass against graph paper with an arching line) and his Self Portrait, both taken in 1924 while Lissitzky was recovering from tuberculosis in a Swiss sanatorium. The resulting image fuses the artist's head, hand and tools.
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