El Lissitzky in the context of "Suprematism"

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⭐ Core Definition: El Lissitzky

El Lissitzky (Russian: Эль Лиси́цкий, born Lazar Markovich Lissitzky Russian: Ла́зарь Ма́ркович Лиси́цкий, listen; 23 November [O.S. 11 November] 1890 – 30 December 1941) was a Russian and Soviet artist, active as a painter, illustrator, designer, printmaker, photographer, and architect. He was an important figure of the avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union.

Lissitzky began his career illustrating Yiddish children's books in an effort to promote Jewish culture. He started teaching at the age of 15, maintaining his teaching career for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he moved to Weimar Republic. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany.

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El Lissitzky in the context of Russian avant-garde

The Russian avant-garde was a large, influential wave of avant-garde modern art that flourished in the Russian Empire and the Soviet Union, approximately from 1890 to 1930—although some have placed its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related, art movements that flourished at the time; including Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum, Imaginism, and Neo-primitivism. In Ukraine, many of the artists who were born, grew up or were active in what is now Belarus and Ukraine (including Kazimir Malevich, Aleksandra Ekster, Vladimir Tatlin, David Burliuk, Alexander Archipenko), are also classified in the Ukrainian avant-garde.

The Russian avant-garde reached its creative and popular height in the period between the Russian Revolution of 1917 and 1932, at which point the ideas of the avant-garde clashed with the newly emerged state-sponsored direction of Socialist Realism.

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El Lissitzky in the context of Van Abbemuseum

The Van Abbemuseum (Dutch pronunciation: [vɑn ˈɑbəmyˌzeːjʏm]) in Eindhoven is one of the first public museums for contemporary art to be established in Europe.

The museum’s collection contains over 3,400 artworks. This includes key works and archives by Joseph Beuys, Marc Chagall, René Daniëls, Marlene Dumas, Sheela Gowda, Patricia Kaersenhout, Gülsün Karamustafa, Iris Kensmil, Oskar Kokoschka, John Körmeling, El Lissitzky (of whom it owns one of the largest collections of paintings in the world), Paul McCarthy, Pablo Picasso, Martha Rosler, and Lidwien van de Ven. The museum has an area of 9,825 m and holds one of the largest collections of paintings in the world by El Lissitzky.

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El Lissitzky in the context of Beat the Whites with the Red Wedge

Beat the Whites with the Red Wedge (Russian: Клином красным бей белых!, Klinom krasnym bey belykh!) is a 1919 lithographic Bolshevik propaganda poster by El Lissitzky. In the poster, the intrusive red wedge symbolizes the Bolsheviks, who are penetrating and defeating their opponents, the White movement, during the Russian Civil War.

The image gained popularity in the West upon Lissitzky's migration to Germany in 1921. It is considered symbolic of the Russian Civil War in Western publications, and is often used in album art and advertisements.It is also used by left-wing political and activist groups in Europe, alongside the anti-fascist red triangle, a reclaimed symbol from Nazi Germany's persecution of left-wing political groups in Germany and German-occupied Europe.

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