Lazar Markovich Lissitzky (help·info) (Russian: Ла́зарь Ма́ркович Лиси́цкий) (November 23 [O.S. November 11] 1890 – December 30, 1941), better 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 former 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.
El 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 Jewish faith, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its antisemitic laws. When only 15 he started teaching; a duty he would stay with 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.
El Lissitzky was born on November 23, 1890 in Pochinok, a small Jewish community 50 kilometres (31 mi) southeast of Smolensk, former Russian Empire. During his childhood, he lived and studied in the city of Vitebsk, now part of Belarus, and later spent 10 years in Smolensk living with his grandparents and attending the Smolensk Grammar School, spending summer vacations in Vitebsk. Always expressing an interest and talent in drawing, he started to receive instruction at 13 from Yehuda Pen, a local Jewish artist, and by the time he was 15 was teaching students himself. In 1909, he applied to an art academy in Saint Petersburg, but was rejected. While he passed the entrance exam and was qualified, the law under the Tsarist regime only allowed a limited number of Jewish students to attend Russian schools and universities.
Like many other Jews then living in the Russian Empire, El 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, El 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 has originated during the contacts with 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. In the same 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 El 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 El Lissitzky's first major foray in book design, a field that he would greatly innovate during his career.
His first designs appeared in the 1917 book, Sihas hulin: Eyne fun di geshikhten (An Everyday Conversation), where he incorporated Hebrew letters with a distinctly art nouveau flair. His next book was a visual retelling of the traditional Jewish Passover song Had gadya (One Goat), in which El Lissitzky showcased a typographic device that he would often return to in later designs. In the book, he integrated letters with images through a system that matched the color of the characters in the story with the word referring to them. In the designs for the final page , El Lissitzky depicts the mighty "hand of God" slaying the angel of death, who wears the tsar's crown. This representation links the redemption of the Jews with the victory of the Bolsheviks in the Russian Revolution. An alternative view asserts that the artist was wary of Bolshevik internationalization, leading to destruction of traditional Jewish culture. Visual representations of the hand of God would recur in numerous pieces throughout his entire career, most notably with his 1925 photomontage self-portrait The Constructor, which prominently featured the hand.
In May 1919, upon receiving an invitation from fellow Jewish artist Marc Chagall, El Lissitzky returned to Vitebsk to teach graphic arts, printing, and architecture at the newly formed People's Art School – a school that Chagall created after being appointed Commissioner of Artistic Affairs for Vitebsk in 1918. Lissitzky was engaged in designing and printing propaganda posters; later, he preferred to keep quiet about this period, probably because one of main subjects of these posters was the exile Leon Trotsky. The quantity of these posters is sufficient to regard them as a separate genre in the artist's output.
Chagall also invited other Russian artists, most notably the painter and art theoretician Kazimir Malevich and El 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 El Lissitzky, still loyal to Chagall, became torn between two opposing artistic paths. El Lissitzky ultimately favoured Malevich's suprematism and broke away from traditional Jewish art. Chagall left the school shortly thereafter.
At this point El Lissitzky subscribed fully to suprematism and, under the guidance of Malevich, helped further develop the movement. Lissitzky designed On the New System of Art by Malevich, who responded in December 1919: "Lazar Markovich, I salute you on the publication of this little book". Perhaps the most famous work by Lissitzky from the same period was the 1919 propaganda poster "Beat the Whites with the Red Wedge". Russia was going through a civil war at the time, which was mainly fought between the "Reds" (communists and revolutionaries) and the "Whites" (monarchists, conservatives, liberals and socialists who opposed the Bolshevik Revolution). The image of the red wedge shattering the white form, simple as it was, communicated a powerful message that left no doubt in the viewer's mind of its intention. The piece is often seen as alluding to the similar shapes used on military maps and, along with its political symbolism, was one of El Lissitzky's first major steps away from Malevich's non-objective suprematism into a style his own. He stated: "The artist constructs a new symbol with his brush. This symbol is not a recognizable form of anything that is already finished, already made, or already existent in the world – it is a symbol of a new world, which is being built upon and which exists by the way of the people."
In January 17, 1920, Malevich and El 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. El 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 El Lissitzky's status as one of the leading figures in the avant garde. Incidentally, the earliest appearance of the signature El 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."
During this period El Lissitzky proceeded to develop a suprematist style of his own, a series of abstract, geometric paintings which he called Proun (pronounced "pro-oon"). The exact meaning of "Proun" was never fully revealed, with some suggesting that it is a contraction of proekt unovisa (designed by UNOVIS) or proekt utverzhdenya novogo (Design for the confirmation of the new). Later, El Lissitzky defined them ambiguously as "the station where one changes from painting to architecture."
Proun was essentially El 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 El Lissitzky, with a taste for architecture and other 3D concepts, tried to expand suprematism beyond this. His Proun works (known as Prounen) 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 El 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.
In 1923–1925, El Lissitzky proposed and developed the idea of horizontal skyscrapers (Wolkenbügel, "cloud-irons"). A series of eight such structures was intended to mark the major intersections of the Boulevard Ring in Moscow. Each Wolkenbügel was a flat three-story, 180-meter-wide L-shaped slab raised 50 meters above street level. It rested on three pylons (10×16×50 meters each), placed on three different street corners. One pylon extended underground, doubling as the staircase into a proposed subway station; two others provided shelter for ground-level tram stations.
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.
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. El Lissitzky was devoted to the idea of creating art with power and purpose, art that could invoke change.