..into this chaos [after the Bolshevik' revolution] came suprematism extolling the square [referring to the Squares of Malevich] as the very source o… - El Lissitzky

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..into this chaos [after the Bolshevik' revolution] came suprematism extolling the square [referring to the Squares of Malevich] as the very source of all creative expression, and then came communism and extolled work as the true source of man's heartbeat.

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About El Lissitzky

Lazar Markovich Lissitzky [Лазарь Маркович Лисицкий] (November 23, 1890 – December 30, 1941), more famous as El Lissitzky [Эль Лисицкий], was a Russian artist, designer, photographer, teacher, typographer, and architect. He was an active protagonist of Russian Constructivism.

Also Known As

Native Name: Ла́зарь Ма́ркович Лиси́цкий
Alternative Names: El' Lisickij Ėlʹ Lisit︠s︡kiĭ El Lissickij Eliezer Markovich Lissitzky Lasar Lissitzky Eliezer Lissitsky Lazar Markovich Lissitzky Lazar Markovich Lisitskii El Lazar Lissitzky Lazarʹ Markovich Lisit︠s︡kiĭ Lazar Markovich Lisi︡tskiĭ Lazar Markovich Lisitsky Eliezer Lissitzky Eliʻezer Lisitsḳi El Lissitsky Lazar Lissitzky E. M. Lissitsky El Lisitsḳi Eleazar Markovich Lissitzky El Lisitsky Eleazar M. Lissitzky Lasar Markowitsch Lissitzky Eliezer Lisitski Eliezer Lisitsky Lazarʼ Markovič Lisickij E. Lisitsḳi Lazar Markovich Lisitski Lazar Markovich Lisitzky Lasar Morduchovich Lissitsky Lissitzky
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Additional quotes by El Lissitzky

What we demand from the Soviet architect is that, as an artist and because of his perceptive intellect, he will fully comprehend and amplify the faintest ripple of developing energies much sooner than the masses — who tend to be shortsighted as far as their own growth is concerned — and that he will transform this energy into tangible architectural form.. .The club's role is to become a University of Culture. If one accepts the premise that private dwellings should strive to operate on the basis of the greatest possible austerity, then by contrast, public dwellings should provide the maximum of available luxury accessible to all. The term 'reconstruction' is therefore not applicable to this case, since there is no building precedent in the past.

In 1928 I designed a photo-montage frieze of 24 by 3.5 m for our 'Pressa' pavilion. It became the example par excellence for all larger-than-life montages, which were a permanent feature of the exhibitions from then on. During Majakovskij's stay in Berlin in 1923 I was commissioned to design his book 'For the Voice'. The book was recognized as the starting-point of a new typography, and the Gutenberg Society in Mainz made me a member. Another field of my work is the artistic and poly-graphic design of albums and periodicals.

It has become obvious to the new architect that by virtue of his work he is taking an active part in the building of a new world. For us the work of an artist has no value 'as such'; it does not represent an end in itself; it has no intrinsic beauty. The value of a work of art is determined by its relationship to the community.. .The artist, or the creative worker, invents nothing; there is no such thing as divine inspiration. Thus we understand by the term 'reconstruction' the conquest of the unresolved, of the 'mysterious,' and the chaotic. In our [Russian] architecture, as in our entire life, we are striving to create a social order, i.e., to raise the instinctive to a conscious level.

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