Lazar Markovich Lissitzky better known as El Lissitzky was a Russian artist, designer, architect, typographer, and photographer. He was an important figure of the Russian avant-garde and he helped develop the Suprematism art movement which focused on basic geometric shapes. His work had a great influence on the development of the Bauhaus and constructivist movements and later on his experimentation with production techniques and stylistic devices in the 1920’s and 1930’s went on to dominate and influence graphic design ever since. Lissitzky regarded that art and life are intertwined and that they both compliment and help out each other. He pinpointed the graphic arts, especially posters and books, and architecture as effective means for
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These variations consisted of abstract and plain geometric compositions. Lissitzky produced a series of paintings in his own take on the Suprematism style, dubbing the series “Proun”.
One of El Lissitzky's greatest goals was to fuse Suprematism into architecture in his native Russia, which he thought was too heavily dependent on the classical European style. By that time – moving into the 1920s - the Suprematist movement started to fracture into two factions: one that embraced the movement's utopian ideals and one that wanted it to achieve more functional goals and be put to use for industrialization. However, Lissitzky generally remained independent in this …show more content…
Lissitzky deduced that the future of the arts rest in their potential to be unified. The union of sculpture, painting, drawing, and architecture, for example, could be concluded with his Prouns. In a sense, Lissitzky's Prouns may also be considered forerunners to modern abstract imagery and extreme industrial modern architecture. Meanwhile, Lissitzky's profound knowledge and passion for architecture played a major role in his Proun series paintings and lithographs (the printing from a stone or a metal plate with a smooth surface) where he experimented with traditional architectural forms, such as bridges and tall buildings, and placed them in a weightless and futuristic environment.
Lissitzky aimed to change Suprematism from two-dimensional, practical, and ideological orientation to three-dimensional with regards to space, especially with respects to architecture. With his forward-thinking Lissitzky established a successful way to establish an abstract and modern visual vocabulary that could be used in both architecture or visual arts ranging from graphics to
These variations consisted of abstract and plain geometric compositions. Lissitzky produced a series of paintings in his own take on the Suprematism style, dubbing the series “Proun”.
One of El Lissitzky's greatest goals was to fuse Suprematism into architecture in his native Russia, which he thought was too heavily dependent on the classical European style. By that time – moving into the 1920s - the Suprematist movement started to fracture into two factions: one that embraced the movement's utopian ideals and one that wanted it to achieve more functional goals and be put to use for industrialization. However, Lissitzky generally remained independent in this …show more content…
Lissitzky deduced that the future of the arts rest in their potential to be unified. The union of sculpture, painting, drawing, and architecture, for example, could be concluded with his Prouns. In a sense, Lissitzky's Prouns may also be considered forerunners to modern abstract imagery and extreme industrial modern architecture. Meanwhile, Lissitzky's profound knowledge and passion for architecture played a major role in his Proun series paintings and lithographs (the printing from a stone or a metal plate with a smooth surface) where he experimented with traditional architectural forms, such as bridges and tall buildings, and placed them in a weightless and futuristic environment.
Lissitzky aimed to change Suprematism from two-dimensional, practical, and ideological orientation to three-dimensional with regards to space, especially with respects to architecture. With his forward-thinking Lissitzky established a successful way to establish an abstract and modern visual vocabulary that could be used in both architecture or visual arts ranging from graphics to