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Topic: El Lissitzky

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	El Lissitzky - Encyclopedia.WorldSearch (Site not responding. Last check: 2007-08-20)
		Lissitzky was born on November 23, 1890 in a small Jewish community near Smolensk, Russia.
		Lissitzky was part of the later camp and left Vitebsk in 1921.
		Lissitzky, together with the Schwitters and van Doesburg, pioneered the idea of an international artistic movement under the guidelines of Constructivism while also working with Kurt Schwitters on an issue of the periodical Merz, and continuing to illustrate children's books.
	encyclopedia.worldsearch.com /el_lissitzky.htm (1636 words)

	Encyclopedia: El Lissitzky
		El (Lazar Markovich) Lissitzky was born in Smolensk in 1890.
		El Lissitzky started his career as an independent artist around 1919, when he was asked by director Marc Chagall, to become a teacher at the art academy in Vitebsk.
		El Lissitzky was appointed as head of the architecture faculty of the academy VKhutemas soon after this event, his colleagues were Rodsjenko and Tatlin.
	www.nationmaster.com /encyclopedia/El-Lissitzky (1243 words)

	El Lissitzky - Wikipedia, the free encyclopedia
		Lissitzky was born on November 23, 1890 in Pochinok, a small Jewish community 50 km southeast of Smolensk, former Russian Empire.
		Lissitzky was fully part of neither and left Vitebsk in 1921.
		Lissitzky, together with Schwitters and van Doesburg, presented the idea of an international artistic movement under the guidelines of Constructivism while also working with Kurt Schwitters on the issue Nasci (Nature) of the periodical Merz (pictured right), and continuing to illustrate children's books.
	en.wikipedia.org /wiki/El_Lissitzky (3926 words)

	El Lissitzky: bio and encyclopedia article (Site not responding. Last check: 2007-08-20)
		During this period Lissitzky proceeded to develop a variant suprematist style of his own, a series of abstract (A concept or idea not associated with any specific instance), geometric painting (Graphic art consisting of an artistic composition made by applying paints to a surface) s which he called Proun (pronounced "pro-oon").
		In 1924 Lissitzky went to Switzerland (A landlocked federal republic in central Europe) to receive treatment for his tuberculosis (Infection transmitted by inhalation or ingestion of tubercle bacilli and manifested in fever and small lesions (usually in the lungs but in various other parts of the body in acute stages)).
		Throughout his career Lissitzky advanced a number of methods, ideas, and movements that had a large and significant impact on contemporary art (additional info and facts about contemporary art) — particularly in the fields of graphic design, exhibition design, and architecture.
	www.absoluteastronomy.com /encyclopedia/e/el/el_lissitzky.htm (3343 words)

	Lissitzky, El on Encyclopedia.com (Site not responding. Last check: 2007-08-20)
		Lissitzky studied at Darmstadt and later taught at the Moscow Academy of Arts, collaborating with avant-garde artists and architects.
		Begun in 1919, his series of abstract geometric paintings entitled Proun (an acronym for “project for the affirmation of the new”), as well as his many prints, were key works in Russia's suprematist movement (see suprematism).
		Lissitzky was also an important innovator in typography and advertising.
	www.encyclopedia.com /html/L/Lissitzk.asp (372 words)

	El Lissitzky - Biography
		Lissitzky, with his architectural training and sensibility, was able to develop aspects of Malevich's art and thought in a way that at least reduced the incongruence between a visionary abstract art and the imperatives of practical work.
		Lissitzky was keen to preserve this sense of indeterminacy surrounding the Prouns, seeing it almost as a guarantee of the continued presence and vitality of the artist's creative contribution.
		Lissitzky sensed that utopia was to be discovered within the true nature of the human being; the Constructivists expected to find utopia in material and the objective processes for manipulating it.
	www.studiocleo.com /gallerie/lissitzky/biography.html (6965 words)

	Lazar Lissitzky is artist from Vitebsk
		Lissitzky grew up in Vitebsk, the hometown of Chagall, and studied architecture in the Polytechnic school in Darmstadt between 1909 and 1914.
		Lissitzky was sent to Berlin in 1921 to establish contacts between artists in the USSR and Germany.
		Lissitzky went to Switzerland in 1924 and returned to Moscow a year later.
	www.1001art.net /liss.html (222 words)

	El Lissitzky in Weimar Germany
		Lissitzky's mother was much more orthodox than his father, and first she went to ask the rabbi for advice, and he told her to stay.
		In May 1922 Lissitzky took part in the artists' congress in Düsseldorf, where the "Union der Konstuktivisten" was supposed to be formed; that never happened, but a new group of international constructivists appeared as a by-product of the congress, including Lissitzky, Hans Richter and Werner Graeff.
		When he [Lissitzky] returned to Moscow, in the middle of 1925, he found that the latter work [typography, photography and Wolkenbügel] was a good preparation for the changed situation in the visual arts since he had left the country (in late 1921 or early 1922).
	spintongues.vladivostok.com /glazova27eng.htm (4678 words)

	El Lissitzky Biography (Site not responding. Last check: 2007-08-20)
		El Lissitzky was born Eleazar Markovich Lisitskii in Vitebsk in 1890.
		Lissitzky worked on the journal 'The USSR in Architecture', for which Lissitzky and his wife, Sophie Lissitzky-Küppers, designed a great many issues.
		Lissitzky was a Russian avant-garde artist who did not limit himself to developing a form of abstract painting but rather extended the new functionalism to photography, book design, architecture and urban planning.
	www.el-lissitzky.com (264 words)

	WCMA
		“Lissitzky was a pioneer of modern art, notably Russian Constructivism, and these prints beautifully demonstrate the sense of optimism and experimentation that was so characteristic of his work, as well as that of his peers, like Kazimir Malevich and Vladimir Tatlin.
		Arriving at artistic maturity on the cusp of the 1917 Russian Revolution, Lazar “El” Lissitzky (1890-1941) was dedicated to new Soviet goals, such as training artists to benefit the state and society rather than the individual.
		The Proun portfolio (Proun is Lissitzky’s acronym for “Project for the Establishment of a New Art”) consists of six images of abstract geometric forms that were meant to function as prototypes for future mechanical and architectural designs.
	www.wcma.org /press/03/03eltz.shtml (759 words)

	Art - El Lissitzky
		Lissitzky was one of the great Russian abstract artists, which included Malevich, Popova and Tatlin.
		Lissitzky made some study trips to Paris, Belgium and Italy, while he was outside Russia.
		Lissitzky fell in love with Sophie Küppers while he was staying in Germany.
	home.hccnet.nl /arnoud.de.bruijn/html/art/ArtLissitzky.htm (311 words)

	El Lissitzky Online
		El Lissitzky at the Metropolitan Museum of Art, New York City
		El Lissitzky at the National Gallery of Art, Washington D.C. Chad Gadya (The Tale of the Goat), 1919
		All images and text on this El Lissitzky page are copyright 1999-2005 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/lissitzky_el.html (297 words)

	El Lissitzky [1890-1941] - Featured Artist Lot on Artfact.com
		Lissitzky, influenced by Malevitch's theory of Suprematism and by the movement of non-objectivity, proceeded to evolve an abstract style for which he coined the term Proun.
		The provenance of this two-syllable trademark 'pro-oon' was never revealed by Lissitzky, but defined by him as 'Proun is the station where one changes from painting to architecture'.
		Following the publication of this first series Kurt Schwitters introduced Lissitzky to the Kestner Gesellschaft in 1922, where he held his first solo exhibition and was then selected as the first artist to contribute a set of lithographs to the newly founded Kestnermappen.
	www.artfact.com /features/styleLot.cfm?iid=knN3AsyX (483 words)

	H-Net Review: Tamara Machmut-Jhashi on El Lissitzky: Beyond the Abstract Cabinet
		Lissitzky articulated his belief in the transformative power of blending abstract form with real space in 1922 in a statement made together with the artists Theo van Doesburg and Hans Richter: "Art must stop being just a way of dreaming cosmic secrets.
		Lissitzky's interest in photograms was also fueled by learning about Man Ray's work (who was in Paris at the time) as well as the work of the Laszlo Moholy-Nagy.
		Lissitzky and Vertov met in 1929 when the latter released his "Man with a Movie Camera." Shortly after that Lissitzky was given the assignment to design the Soviet pavilion at the International Exhibition of Film and Photo in Stuttgart.
	www.h-net.org /reviews/showrev.cgi?path=458995907228 (1682 words)

	Guggenheim Museum - Exhibitions - Speaking with Hands: Photographs from the Buhl Collection - Highlights
		El Lissitzky left Russia to study architecture and drawing in Germany in 1909; he subsequently divided his life and career between those two countries.
		In the early 1920s, Lissitzky designed graphics for everyone from the nascent Soviet government and poets of the Russian avant-garde to a Swiss advertising firm.
		Lissitzky repeated the image of a hand holding a compass several times in the 1920s, in advertisements for modern manufacture and modern revolution alike.
	www.guggenheim.org /exhibitions/buhl/highlights04.html (285 words)

	[No title] (Site not responding. Last check: 2007-08-20)
		There, Lissitzky was influenced by fellow faculty-member Kazimir Malevich's method of Suprematism, a form of abstract painting in which colored planes hover in space over a neutral ground.
		Lissitzky was also developing his own synthesis of painting and architecture, known as Proun.
		Lissitzky was closely associated with the editorial board of the propaganda magazine, USSR in Construction, contributing layouts and photomontages for a number of commemorative issues devoted to the Stalinist Constitution, Soviet Georgia, and the Red Army.
	www.schicklerart.com /artists/bio.html?artist=108229 (360 words)

	El Lissitzky (Site not responding. Last check: 2007-08-20)
		Lissitzky When the first issue of Wendingen (1918-1931) appeared it caused commotion.
		El Lissitzky was among the few foreign artists that were commissioned to design a cover.
		El Lissitzky's is among the most famous of the Wendingen covers.
	www.braitman.com /lissitzky.html (72 words)

	"Monuments of the Future": Designs by El Lissitzky (Getty Research Institute)
		A complete facsimile of avant-garde artist El Lissitzky's rare 1919 work, Had gadya: The Only Kid, wrapped in a reproduction of the dust jacket that covered the original work.
		Lissitzky's enchanting illustrated version of the traditional Passover song Had gadya is replete with his bold and colorful lithographs and makes use of Yiddish and Aramaic texts, which he rendered in a stylized fashion.
		Situating El Lissitzky reassesses the complex career of one of the most influential yet controversial experimental artists of the early twentieth century.
	www.getty.edu /research/tools/digital/lissitzky (152 words)

	El Lissitzky -- Britannica Concise Encyclopedia - The online encyclopedia you can trust!
		In 1919 Lissitzky began to work on a series of abstract geometric paintings that he named Proun,”; an acronym for the Russian words translated as “Projects for the Affirmation of the New.” These paintings were a major contribution to the Constructivist art movement.
		He went to Germany, where he met the artist-designer László Moholy-Nagy, who transmitted Lissitzky's ideas on art to western Europe and the United States through his teaching at the Bauhaus.
		Between 1925 and 1928 Lissitzky lived in Hannover, where he cofounded a number of periodicals propagating the most progressive artistic tendencies of the 1920s.
	www.britannica.com /ebc/article-9048494 (279 words)

	YouWorkForThem \| Graphic design: El Lissitzky
		The author and the two contributors give special attention to Lissitzky’s intense collaboration first with German and then with Soviet photographers, designers, and filmmakers, and they discuss how his various personal friendships and acquaintances influenced the directions he took in photography and design.
		The book presents photographic works by Lissitzky and these other artists as well as some of Lissitzky’s early non-objective art that foreshadows his experiments in figurative art.
		El Lissitzky is by far one of the most influential figures in the arts and design.
	youworkforthem.com /product.php?sku=P0313 (359 words)

	Suprematicheskii Skaz (About 2 Squares), El Lissitzky, 1922
		Lissitzky was very careful with his choice of colors--the intensity of the red square is finely tuned for a psychological contrast to the fl square and text.
		Lissitzky: "The pattern of speech becomes increasingly concise, the gesture sharply imprinted.
		Lissitzky was a Russian artist, architect, designer, typographer, and photographer who was active in the avante garde movement that flourished in Soviet Russia and in Germany, until the dominance of Soviet Realism by 1930 put a stop to its revolutionary activity.
	www.eldritchpress.org /el/pro.html (1829 words)

	Peggy Guggenheim Collection - Artists - El Lissitzky (1890-1941) (Site not responding. Last check: 2007-08-20)
		El Lissitzky was born Lazar Markovich Lisitskii on November 23, 1890, in Pochinok, in the Russian province of Smolensk, and grew up in Vitebsk.
		Also in 1923, Lissitzky created his Proun environment for the Grosse Berliner Kunstausstellung and executed his lithographic suites Proun and Victory over the Sun (illustrating the opera by Alexei Kruchenykh and Mikhail Matiushin), before traveling to Switzerland for medical treatment.
		During the mid-1920s, Lissitzky stopped painting in order to concentrate on the design of typography and exhibitions.
	www.guggenheim-venice.it /english/06_artists/lissitzky.htm (363 words)

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