Lissitzky
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rosswolfe:From Hans Arp and El Lissitzky’s The “Isms” of Art (1924), via The Charnel-House
rosswolfe:From Hans Arp and El Lissitzky’s The “Isms” of Art (1924), via The Charnel-House
russianavantgarde:El Lissitzky - Black Anxious, 1920Intense anxiety-production, who will spray their
russianavantgarde:El Lissitzky - Black Anxious, 1920Intense anxiety-production, who will spray their
ein-bleistift-und-radiergummi:El Lissitzky ‘Monument to Rosa Luxemburg’ 1919 – 21
ein-bleistift-und-radiergummi:El Lissitzky ‘Monument to Rosa Luxemburg’ 1919 – 21
hipinuff:El Lissitzky (Russian: 1890-1941), Proun, c.1924–25. Collage of various cut-and-tipped wove
hipinuff:El Lissitzky (Russian: 1890-1941), Proun, c.1924–25. Collage of various cut-and-tipped wove
SPECTRES OF STALIN.
SPECTRES OF STALIN.
russianavantgarde:El Lissitzky, Design for the Abstract Cabinet (Gouache and Collage), 1927.Avant-ga
russianavantgarde:El Lissitzky, Design for the Abstract Cabinet (Gouache and Collage), 1927.Avant-ga
Max Burchartz, Typografische Arbeiten, 1924–1931Although he never reached the level of fame attached
Max Burchartz, Typografische Arbeiten, 1924–1931Although he never reached the level of fame attached
El Lissitzky, exhibition poster, 1929.
El Lissitzky, exhibition poster, 1929.
Supremist automatons: “New Man”, “Old Man”, “Gravediggers”, “Postman”.Figures from the opera, Victor
Supremist automatons: “New Man”, “Old Man”, “Gravediggers”, “Postman”.Figures from the opera, Victor
El Lissitzky - Sportsmen (1923)
El Lissitzky - Sportsmen (1923)
Hannes Meyer, Co-op folding chair, directors chair, 1926. Switzerland.Designed for the Co-op Room fo
Hannes Meyer, Co-op folding chair, directors chair, 1926. Switzerland.Designed for the Co-op Room fo
retroavangarda:El Lissitzky, 1923
retroavangarda:El Lissitzky, 1923
El Lissitzky, Beat the Whites with the Red Wedge, 1919.Theodor Adorno writes:Ladies and Gentlemen, I
El Lissitzky, Beat the Whites with the Red Wedge, 1919.Theodor Adorno writes:Ladies and Gentlemen, I
Dziga Vertov (Kino-Glaz) = DzigaVertov (Cinema-Eye)El Lissitzky (Russian; 1890–1941)1929Gelatin silv
Dziga Vertov (Kino-Glaz) = DzigaVertov (Cinema-Eye)El Lissitzky (Russian; 1890–1941)1929Gelatin silv
El Lissitzky, The four basic arithmetical operations / Die vier Grundrechenarten, 1928. Silkscreen o
El Lissitzky, The four basic arithmetical operations / Die vier Grundrechenarten, 1928. Silkscreen o
magictransistor:El Lissitzky. Had Gadya (A Single Kid). Kultur-Lige. 1919. El Lissitzky illustrated
magictransistor:El Lissitzky. Had Gadya (A Single Kid). Kultur-Lige. 1919. El Lissitzky illustrated
nobrashfestivity:El Lissitzky
nobrashfestivity:El Lissitzky
Untitled by El Lissitzky, 1917, Guggenheim MuseumThe Solomon R. Guggenheim Foundation Peggy Guggenhe
Untitled by El Lissitzky, 1917, Guggenheim MuseumThe Solomon R. Guggenheim Foundation Peggy Guggenhe
El Lissitzky, Proun 30, 1920. Stiftung Moritzburg
El Lissitzky, Proun 30, 1920. Stiftung Moritzburg
El Lissitzky, Pavilion of the Soviet Union at the “PRESSA” exhibition in Cologne, 1928
El Lissitzky, Pavilion of the Soviet Union at the “PRESSA” exhibition in Cologne, 1928
artisaword: El Lissitzky (1890–1941)Untitledc. 1919–1920Oil on canvas79.6 x 49.6 cmPeggy
artisaword: El Lissitzky (1890–1941)Untitledc. 1919–1920Oil on canvas79.6 x 49.6 cmPeggy
El Lissitzky | The Constructor, self-portrait - 1924
El Lissitzky | The Constructor, self-portrait - 1924
Buchloh on Lissitizky and the relationship between theatrical space and the printed page. 
Buchloh on Lissitizky and the relationship between theatrical space and the printed page. 
El Lissitzky, Proun 93 (Konischer), 1923. Stiftung Moritzburg, Halle. Via Wiki
El Lissitzky, Proun 93 (Konischer), 1923. Stiftung Moritzburg, Halle. Via Wiki
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