Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, About this soundlisten (help·info); November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.
Lissitzky’s entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, “das zielbewußte Schaffen” (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, began his career illustrating Yiddish children’s books in an effort to promote Jewish culture in Russia. When only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist’s legacy and to prepare a catalogue raisonné of the artist’s oeuvre.
Like many other Jews then living in the Russian Empire, Lissitzky went to study in Germany. He left in 1909 to study architectural engineering at a Technische Hochschule in Darmstadt, Germany. During the summer of 1912, Lissitzky, in his own words, “wandered through Europe”, spending time in Paris and covering 1,200 kilometres (750 mi) on foot in Italy, teaching himself about fine art and sketching architecture and landscapes that interested him. His interest in ancient Jewish culture had originated during the contacts with a Paris-based group of Russian Jews led by sculptor Ossip Zadkine, a lifetime friend of Lissitzky since early childhood, who exposed Lissitzky to conflicts between different groups within the diaspora. Also in 1912 some of his pieces were included for the first time in an exhibit by the St. Petersburg Artists Union; a notable first step. He remained in Germany until the outbreak of World War I, when he was forced to return home through Switzerland and the Balkans, along with many of his countrymen, including other expatriate artists born in the former Russian Empire, such as Wassily Kandinsky and Marc Chagall.
Upon his return to Moscow, Lissitzky attended the Polytechnic Institute of Riga, which had been evacuated to Moscow because of the war, and worked for the architectural firms of Boris Velikovsky and Roman Klein. During this work, he took an active and passionate interest in Jewish culture which, after the downfall of the openly antisemitic Tsarist regime, was experiencing a renaissance. The new Provisional Government repealed a decree that prohibited the printing of Hebrew letters and that barred Jews from citizenship. Thus Lissitzky soon devoted himself to Jewish art, exhibiting works by local Jewish artists, traveling to Mahilyow to study the traditional architecture and ornaments of old synagogues, and illustrating many Yiddish children’s books. These books were Lissitzky’s first major foray in book design, a field that he would greatly greatly influence over the course of his career.
Lissitzky’s The Constructor, 1924, London, Victoria & Albert Museum
Proun. 1st Kestner Portfolio
Chagall also invited other Russian artists, most notably the painter and art theoretician Kazimir Malevich and Lissitzky’s former teacher, Yehuda Pen. However, it was not until October 1919 when Lissitzky, then on an errand in Moscow, persuaded Malevich to relocate to Vitebsk. The move coincided with the opening of the first art exhibition in Vitebsk directed by Chagall. Malevich would bring with him a wealth of new ideas, most of which inspired Lissitzky but clashed with local public and professionals who favored figurative art and with Chagall himself. After going through impressionism, primitivism, and cubism, Malevich began developing and advocating his ideas on suprematism aggressively. In development since 1915, suprematism rejected the imitation of natural shapes and focused more on the creation of distinct, geometric forms. He replaced the classic teaching program with his own and disseminated his suprematist theories and techniques school-wide. Chagall advocated more classical ideals and Lissitzky, still loyal to Chagall, became torn between two opposing artistic paths. Lissitzky ultimately favoured Malevich’s suprematism and broke away from traditional Jewish art. Chagall left the school shortly thereafter.
Beat the Whites with the Red Wedge, 1920
In January 17, 1920, Malevich and Lissitzky co-founded the short-lived Molposnovis (Young followers of a new art), a proto-suprematist association of students, professors, and other artists. After a brief and stormy dispute between “old” and “young” generations, and two rounds of renaming, the group reemerged as UNOVIS (Exponents of the new art) in February. Under the leadership of Malevich the group worked on a “suprematist ballet”, choreographed by Nina Kogan and on the remake of a 1913 futurist opera Victory Over the Sun by Mikhail Matyushin and Aleksei Kruchenykh. Lissitzky and the entire group chose to share credit and responsibility for the works produced within the group, signing most pieces with a black square. This was partly a homage to a similar piece by their leader, Malevich, and a symbolic embrace of the Communist ideal. This would become the de facto seal of UNOVIS that took the place of individual names or initials. Black squares worn by members as chest badges and cufflinks also resembled the ritual tefillin and thus were no strange symbol in Vitebsk shtetl.
The group, which disbanded in 1922, would be pivotal in the dissemination of suprematist ideology in Russia and abroad and launch Lissitzky’s status as one of the leading figures in the avant garde. Incidentally, the earliest appearance of the signature Lissitzky (Russian: Эль Лисицкий) emerged in the handmade UNOVIS Miscellany, issued in two copies in March–April 1920, and containing his manifesto on book art: “the book enters the skull through the eye not the ear therefore the pathways the waves move at much greater speed and with more intensity. if i (sic) can only sing through my mouth with a book i (sic) can show myself in various guises.”
A Proun, c.1925. Commenting on Proun in 1921, Lissitzky stated, “We brought the canvas into circles . . . and while we turn, we raise ourselves into the space.”
Proun was essentially Lissitzky’s exploration of the visual language of suprematism with spatial elements, utilizing shifting axes and multiple perspectives; both uncommon ideas in suprematism. Suprematism at the time was conducted almost exclusively in flat, 2D forms and shapes, and Lissitzky, with a taste for architecture and other 3D concepts, tried to expand suprematism beyond this. His Proun works spanned over a half a decade and evolved from straightforward paintings and lithographs into fully three-dimensional installations. They would also lay the foundation for his later experiments in architecture and exhibition design. While the paintings were artistic in their own right, their use as a staging ground for his early architectonic ideas was significant. In these works, the basic elements of architecture – volume, mass, color, space and rhythm – were subjected to a fresh formulation in relation to the new suprematist ideals. Through his Prouns, utopian models for a new and better world were developed. This approach, in which the artist creates art with socially defined purpose, could aptly be summarized with his edict “das zielbewußte Schaffen” – “task oriented creation.”
Jewish themes and symbols also sometimes made appearances in his Prounen, usually with Lissitzky using Hebrew letters as part of the typography or visual code. For the cover of the 1922 book Arba’ah Teyashim (Four Billy Goats; cover), he shows an arrangement of Hebrew letters as architectural elements in a dynamic design that mirrors his contemporary Proun typography. This theme was extended into his illustrations for the Shifs-Karta (Passenger Ticket) book.
Return to Germany
International Congress of Progressive Artists, May 1922, Lissitzky 9th from left
We consider the triumph of the constructive method to be essential for our present. We find it not only in the new economy and in the development of the industry, but also in the psychology of our contemporaries of art. Veshch will champion constructive art, whose mission is not, after all, to embellish life, but to organize it.
During his stay Lissitzky also developed his career as a graphic designer with some historically important works such as the books Dlia Golossa (For the Voice), a collection of poems from Vladimir Mayakovsky, and Die Kunstismen (The Artisms) together with Jean Arp. In Berlin he also met and befriended many other artists, most notably Kurt Schwitters, László Moholy-Nagy, and Theo van Doesburg. Together with Schwitters and van Doesburg, Lissitzky presented the idea of an international artistic movement under the guidelines of constructivism while also working with Kurt Schwitters on the issue Nasci (Nature) of the periodical Merz, and continuing to illustrate children’s books. The year after the publication of his first Proun series in Moscow in 1921, Schwitters introduced Lissitzky to the Hanover gallery kestnergesellschaft, where he held his first solo exhibition. The second Proun series, printed in Hanover in 1923, was a success, utilizing new printing techniques. Later on, he met Sophie Küppers, who was the widow of Paul Küppers, an art director of the kestnergesellschaft at which Lissitzky was showing, and whom he would marry in 1927.
Lissitzky argued that as long as humans cannot fly, moving horizontally is natural and moving vertically is not. Thus, where there is not sufficient land for construction, a new plane created in the air at medium altitude should be preferred to an American-style tower. These buildings, according to Lissitzky, also provided superior insulation and ventilation for their inhabitants.
The print shop designed by El Lissitzky, showing the least damaged south end of the building
An illustration of the concept appeared on the front cover of Adolf Behne’s book Der Moderne Zweckbau, and articles on it written by Lissitzky appeared in the Moscow-based architectural review ASNOVA News (journal of ASNOVA, the Association of New Architects) and in the German art journal Das Kunstblatt.
After some time of creating “paper architecture” projects such as the Wolkenbügels he was hired to design an actual building in Moscow. Located at 55.777277°N 37.610828°E 17, 1st Samotechny Lane, it is Lissitzky’s sole tangible work of architecture. It was commissioned in 1932 by Ogonyok magazine to be used as a print shop. In June 2007 the independent Russky Avangard foundation filed a request to list the building on the heritage register. In September 2007 the city commission (Moskomnasledie) approved the request and passed it to the city government for a final approval, which did not happen. In October 2008, the abandoned building was badly damaged by fire.
Exhibitions of the 1920s
In June 1926, Lissitzky left the country again, this time for a brief stay in Germany and the Netherlands. There he designed an exhibition room for the Internationale Kunstausstellung art show in Dresden and the Raum Konstruktive Kunst (Room for constructivist art) and Abstraktes Kabinett shows in Hanover, and perfected the 1925 Wolkenbügel concept in collaboration with Mart Stam. In his autobiography (written in June 1941, and later edited and released by his wife), Lissitzky wrote, “1926. My most important work as an artist begins: the creation of exhibitions.”
Back in the USSR, Lissitzky designed displays for the official Soviet pavilions at the international exhibitions of the period, up to the 1939 New York World’s Fair. One of his most notable exhibits was the All-Union Polygraphic Exhibit in Moscow in August–October 1927, where Lissitzky headed the design team for “photography and photomechanics” (i.e. photomontage) artists and the installation crew. His work was perceived as radically new, especially when juxtaposed with the classicist designs of Vladimir Favorsky (head of the book art section of the same exhibition) and of the foreign exhibits.
In the beginning of 1928, Lissitzky visited Cologne in preparation for the 1928 Pressa Show scheduled for April–May 1928. The state delegated Lissitzky to supervise the Soviet program; instead of building their own pavilion, the Soviets rented the existing central pavilion, the largest building on the fairground. To make full use of it, the Soviet program designed by Lissitsky revolved around the theme of a film show, with nearly continuous presentation of the new feature films, propagandist newsreels and early animation, on multiple screens inside the pavilion and on the open-air screens. His work was praised for near absence of paper exhibits; “everything moves, rotates, everything is energized” (Russian: всё движется, заводится, электрифицируется). Lissitzky also designed and managed on site less demanding exhibitions like the 1930 Hygiene show in Dresden.
Along with pavilion design, Lissitzky began experimenting with print media again. His work with book and periodical design was perhaps some of his most accomplished and influential. He launched radical innovations in typography and photomontage, two fields in which he was particularly adept. He even designed a photomontage birth announcement in 1930 for his recently born son, Jen. The image itself is seen as being another personal endorsement of the Soviet Union, as it superimposed an image of the infant Jen over a factory chimney, linking Jen’s future with his country’s industrial progress. Around this time, Lissitzky’s interest in book design escalated. In his remaining years, some of his most challenging and innovative works in this field would develop. In discussing his vision of the book, he wrote:
In contrast to the old monumental art [the book] itself goes to the people, and does not stand like a cathedral in one place waiting for someone to approach . . . [The book is the] monument of the future.
He perceived books as permanent objects that were invested with power. This power was unique in that it could transmit ideas to people of different times, cultures, and interests, and do so in ways other art forms could not. This ambition laced all of his work, particularly in his later years. Lissitzky was devoted to the idea of creating art with power and purpose, art that could invoke change.
In 1937, Lissitzky served as the lead decorator for the upcoming All-Union Agricultural Exhibition, reporting to the master planner Vyacheslav Oltarzhevsky but largely independent and highly critical of him. The project was plagued by delays and political interventions. By the end of 1937 the “apparent simplicity” of Lissitzky’s artwork aroused the concerns of the political supervisors, and Lissitzky responded: “The simpler the shape, the finer precision and quality of execution required… yet until now [the working crews] are instructed by the foremen (Oltarzhevsky and Korostashevsky), not the authors” (i.e. Vladimir Shchuko, author of the Central Pavilion, and Lissitzky himself). His artwork, as described in 1937 proposals, completely departed from the modernist art of the 1920s in favor of socialist realism. The iconic statue of Stalin in front of the central pavilion was proposed by Lissitzky personally: “this will give the square its head and its face” (Russian: Это должно дать площади и голову и лицо).
In June 1938, he was only one of seventeen professionals and managers responsible for the Central Pavilion; in October 1938, he shared the responsibility for its Main Hall decoration with Vladimir Akhmetyev. He simultaneously worked on the decoration of the Soviet pavilion for the 1939 New York World’s Fair; the June 1938 commission considered Lissitzky’s work along with nineteen other proposals and eventually rejected it.
Lissitzky’s work on the USSR im Bau (USSR in construction) magazine took his experimentation and innovation with book design to an extreme. In issue #2 he included multiple fold-out pages, presented in concert with other folded pages that together produced design combinations and a narrative structure that was completely original. Each issue focused on a particular issue of the time – a new dam being built, constitutional reforms, Red Army progress and so on. In 1941, his tuberculosis worsened, but he continued to produce works, one of his last being a propaganda poster for Russia’s efforts in World War II, titled “Davaite pobolshe tankov!” (Give us more tanks!) He died on December 30, 1941, in Moscow.