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Proun 19D. 1920 or 1921. 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 ...
El Lissitzky (en inglés) Ocupación: pintor, diseñador, fotógrafo, maestro, tipógrafo, y arquitecto: Obras destacadas: Sihas hulin: Eyne fun di geshikhten (Una conversación cotidiana), Cartel para la exposición rusa, Kunstgewerbemuseum, Zúrich, Diseño para Vladímir Mayakovski, Dlia gólosa (Para la voz)
26 de nov. de 2021 · Quién es El Lissitzky. El 23 de noviembre de 1890, Lázar Márkovich Lissitzky nació en la localidad de Pochinok, en Smolensk. Se crio en una Rusia convulsa y agitada, durante una época de cambios políticos radicales y un auténtico caldo de cultivo cultural derivado de la concienciación social y el incipiente comunismo del país.
El Lissitzky. Lazar Markovich Lissitzky ( axuda · info) ( ruso: Ла́зарь Ма́ркович Лиси́цкий ), coñecido polo pseudónimo El Lissitzky ( ruso: Эль Лиси́цкий, yiddish: על ליסיצקי ), foi un artista, deseñador, fotógrafo, tipógrafo e arquitecto ruso. Foi unha figura relevante durante a vangarda ...
El Lissitzky was a Russian born artist, designer, typographer, photographer and architect who designed many exhibitions and propaganda for the Soviet Union in the early 20th century. His development of the ideas behind the Suprematist art movement were very influential in the development of the Bauhaus and the Constructivist art movements. His ...
6 de dic. de 2023 · El Lissitzky, Beat the Whites with the Red Wedge, 1919, color lithograph on paper, 51 x 62 cm. Beat the Whites with the Red Wedge is a propaganda poster designed by El Lissitzky using the abstract visual language of Suprematism, an art movement founded by Kasimir Malevich in 1915. Made in support of the efforts of the Bolshevik Red Army to ...
IN 1924 EL LISSITZKY PRODUCED a fascinating document on his status with respect to the postwar avant-garde and to the ongoing development of the Bolshevik Revolution.The Constructor (Self-Portrait), Fig. 1, attests to Lissitzky’s desire throughout the 1920s to create works of art that would take their place at the forefront of the modern movement while remaining faithful to the precept of an ...
