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We believe that the elements in the chemical formula of our creative work, problem, invention, and art, correspond to the challenges of our age. - El Lissitzky
" "We believe that the elements in the chemical formula of our creative work, problem, invention, and art, correspond to the challenges of our age.
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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
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Ėlʹ Lisit︠s︡kiĭ
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El Lissickij
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Eliezer Markovich Lissitzky
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Lasar Lissitzky
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Eliezer Lissitsky
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Lazar Markovich Lissitzky
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Lazar Markovich Lisitskii
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El Lazar Lissitzky
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Lazarʹ Markovich Lisit︠s︡kiĭ
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Lazar Markovich Lisi︡tskiĭ
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Lazar Markovich Lisitsky
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Eliezer Lissitzky
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Eliʻezer Lisitsḳi
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El Lissitsky
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Lazar Lissitzky
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E. M. Lissitsky
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El Lisitsḳi
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Eleazar Markovich Lissitzky
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El Lisitsky
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Eleazar M. Lissitzky
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Lasar Markowitsch Lissitzky
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Eliezer Lisitski
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Eliezer Lisitsky
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Lazarʼ Markovič Lisickij
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E. Lisitsḳi
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Lazar Markovich Lisitski
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Lazar Markovich Lisitzky
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Lasar Morduchovich Lissitsky
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Lissitzky
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Additional quotes by El Lissitzky
In America the architect has a direct and continuing relationship with technology. Perhaps this is why he does not ask more from technology than it can offer. In our country [Russia] it is still impossible to have such urban complexes as are found in Paris, Chicago, or Berlin. It is through technology that we can build a bridge to all the most recent achievements, which is what made it possible for our country to pass directly from the hoe to the tractor without having to travel the long path of historical development. That is why we want to introduce the most modern methods of building and construction into our country — and why we see the works and designs of both the 'formalists' and the 'constructivists' as a radical experiment in the manipulation of construction.
Cubism demonstrated in its constructions its modernity in relation to scale, but in painting and contre-relief we have in front of us an absolute scale which is this - forms in their natural size in the ratio 1 : 1. If however we wish to transform the contre-relief into an architectural structure and therefore enlarge it by one hundred times, then the scale ceases to be absolute and becomes relative in the ratio of 1 : 100. Then we get the American statue of liberty in whose head there is room for four men and from whose hand the light streams out.
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The second conception of the world via the medium of matter required both a visual and a tactile perception of things. In this case the whole design process tends to emanate from the specific characteristics of the respective medium used. The leader of this movement (Tatlin) assumed.. ..that the intuitive and artistic mastery of materials would lead to inventions on the basis of which objects could be constructed. He believed he could prove this theory with his design for the 'Monument to the Third International' (1920), [never built]. He accomplished this task without having any special technical knowledge of construction.
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