03.11.2011 1 ART IN THE FIRST HALF OF THE TWENTIETH CENTURY Futurism, Manifesto of Futurist Architecture Constructivism Precisionism Week 6 THREE MODERNIST MOVEMENTS FUTURISM CONSTRUCTIVISM PRECISIONISM PERIOD: 1909-1918 1913-1932 1915-1930 LOCALE: Italy Russia United States ARTISTS: Boccioni, Balla, Severeni, Carrà, Russolo Tatlin, Malevich, Popova, Rodchenko, Lissitzky, Gabo, Pevsner Sheeler, Demuth, O’Keeffe FEATURES: Lines of force representing movement and modern life Geometric art, reflecting modern technology Sleek (düz) urban and industrial forms
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ART IN THE FIRST HALF OF THE
TWENTIETH CENTURY
Futurism, Manifesto of Futurist Architecture
Constructivism
Precisionism
Week 6
THREE MODERNIST
MOVEMENTS
FUTURISM CONSTRUCTIVISM PRECISIONISM
PERIOD: 1909-1918 1913-1932 1915-1930
LOCALE: Italy Russia United States
ARTISTS: Boccioni, Balla, Severeni,
Carrà, Russolo
Tatlin, Malevich,
Popova, Rodchenko,
Lissitzky, Gabo, Pevsner
Sheeler,
Demuth,
O’Keeffe
FEATURES: Lines of force
representing movement
and modern life
Geometric art, reflecting
modern technology
Sleek (düz) urban
and industrial forms
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States of Mind I: The Farewells, Oil on canvas,
(70.5 x 96.2 cm).
States of Mind II:
Those Who Go, Oil on canvas,
(70.8 x 95.9 cm).
States of Mind III:
Those Who Stay,Oil on canvas,
(70.8 x 95.9 cm).
Umberto Boccioni (Italian, 1882-1916)
Three States of Mind , 1911
Futurism: Kinetic art
The kinetic energy of an object is the energy which it possesses due to its motion.
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Futurism: Kinetic art
Futurism was an Italian phenomenon.
Futurism began in 1909 as a literary movement when the Italian poet F.T.Marinetti
issued its manifesto.
Marinetti a hyperactive self-promoter nicknamed ―The Caffeine of Europe‖ challenged
artists to show ―courage, audacity, and revolt‖ and to celebrate “a new beauty, the
beauty of speed.”
Futurist artists tried to unveil the poetry in motion.
The key to Futurist art was MOVEMENT.
The painters combined bright Fauve colors with fractured Cubist planes
to express propulsion (itici kuvvet).
Their quest was ―to throw all tradition,‖ therefore they published a manifesto
to voice their highly reactionary philosophy.
―..... With our enthusiastic adherence to Futurism, we will:
1.Destroy the cult of the past, the obsession with the ancients, pedantry and academic formalism.
2.Totally invalidate all kinds of imitation.
3.Elevate all attempts at originality, however daring, however violent.
4.Bear bravely and proudly the smear of “madness” with which they try to gag all innovators.
5.Regard art critics as useless and dangerous.
6.Rebel against the tyranny of words: ―Harmony‖ and ―good taste‖ and other loose expressions which can be used to destroy the works of Rembrandt, Goya, Rodin...
7.Sweep the whole field of art clean of all themes and subjects which have been used in the past.
8.Support and glory in our day-to-day world, a world which is going to be continually and splendidly transformed by victorious Science.
The dead shall be buried in the earth’s deepest bowels! The threshold of the future will be swept free of mummies! Make room for youth, for violence, for (gözüpek) daring!‖
Manifesto of the Futurist Painters, (Milan) Poesia, February 11, 1910.
Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, Gino Severini
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States of Mind I: The Farewells, Oil on canvas,
(70.5 x 96.2 cm).
States of Mind II:
Those Who Go, Oil on canvas,
(70.8 x 95.9 cm).
States of Mind III:
Those Who Stay,Oil on canvas,
(70.8 x 95.9 cm).
Umberto Boccioni (Italian, 1882-1916)
Three States of Mind , 1911
Futurism: Kinetic art
Set in a train station, this series of three paintings
explores the psychological dimension of modern
life's transitory nature. In The Farewells, (veda)
Boccioni captures chaotic movement and the fusion
of people swept away in waves as the train's steam
bellows into the sky. Oblique lines hint at departure in
Those Who Go, in which Boccioni said he sought to
express "loneliness, anguish, and dazed confusion." In
Those Who Stay, vertical lines convey the weight of
sadness carried by those left behind.
States of Mind I: The Farewells, Oil on canvas,
(70.5 x 96.2 cm).
States of Mind II:
Those Who Go, Oil on canvas,
(70.8 x 95.9 cm).
States of Mind III:
Those Who Stay,Oil on canvas,
(70.8 x 95.9 cm).
Umberto Boccioni (Italian, 1882-1916)
Three States of Mind , 1911
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Funeral of the Anarchist Galli, 1910-11.
Carlo Carrà (Italian, 1881-1966)
Oil on canvas, (198.7 x 259.1 cm), MoMA.
Carlo Carra met Umberto Boccioni and Luigi Russolo, and together they came to know
Filippo Tommaso Marinetti and to write the Manifesto dei pittori futuristi (1910). Carrà continued,
however, to use the technique of Divisionism despite the radical rhetoric of Futurism. In an
attempt to find new inspiration Marinetti sent them to visit Paris in autumn 1911, in preparation
for the Futurist exhibition of 1912. Cubism was a revelation, and in 1911 Carrà reworked a large
canvas that he had begun in 1910, the Funeral of the Anarchist Galli (New York, MOMA). He
had witnessed the riot at the event in 1904. The crowd and the mounted police converge in
violently hatched red and black, as Carrà attempted the Futurist aim to place the spectator at
the centre of the canvas. In the reworking he attempted to make the space more complex and
the lighting appear to emerge from within.
Ritmi Plastici, 1911.
Carlo Carrà (Italian, 1881-1966)Ink on paper, (10.7 x 7.4 cm).
photographic studies of animal locomotion
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Swifts: Paths of Movement + Dynamic Sequences, 1913.
Giacomo Balla (Italian, 1871-1958)Oil on canvas, (96.8 x 120 cm).
Balla, one of the founding
members of Futurism, spent
much of his career studying
the dynamics of movement
and speed. The subject of
this painting is the flight of
swifts; black wings whir
before a window. Inspired
by photographic
studies of animal
locomotion, Balla created
an image of motionpushed close to
abstraction. The wings
each represent a different
position in a trajectory of
motion, and the bird’s body
is rendered as a
diagrammatic line. Here
Balla looks to science
to establish a new,
modern language for
painting.
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Speeding Automobile, 1912. Giacomo Balla (Italian, 1871-1958)Oil on wood, (55.6 x 68.9 cm).
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Unique Forms of Continuity in Space, 1913
Umberto Boccioni (Italian, 1882–1916)Bronze H. (121.9 x 15 1/2 x 91.4 cm)
Boccioni, who sought to infuse art with dynamism and
energy, exclaimed, "Let us fling open the figure and let it
incorporate within itself whatever may surround it." The
contours of this marching figure appear to be carved by the
forces of wind and speed as it forges ahead. While its
wind–swept silhouette is evocative of an ancient statue, the
polished metal alludes to the sleek modern machinery beloved
by Boccioni and other Futurist artists.
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Unique Forms of Continuity in Space, 1913
Umberto Boccioni (Italian, 1882–1916)Bronze H. (121.9 x 15 1/2 x 91.4 cm)
In Unique Forms of Continuity in Space,
Boccioni puts speed and force into sculptural form. The
figure strides forward. Surpassing the limits of the body,
its lines ripple outward in curving and streamlined flags,
as if molded by the wind of its passing. Boccioni had
developed these shapes over two years in paintings,
drawings, and sculptures, exacting studies of human
musculature. The result is a three-dimensional portrait
of a powerful body in action.In the early twentieth century, the new speed and force of machinery
seemed to pour its power into radical social energy. The new
technologies and the ideas attached to them would later reveal
threatening aspects, but for Futurist artists like Boccioni, they were
tremendously exhilarating. Innovative as Boccioni was, he fell short of his
own ambition. In 1912, he had attacked the domination of sculpture by
"the blind and foolish imitation of formulas inherited from the past," and
particularly by "the burdensome weight of Greece." Yet Unique Forms of
Continuity in Space bears an underlying resemblance to a classical work
over 2,000 years old, the Nike of Samothrace. There, however, speed is
encoded in the flowing
stone draperies that wash
around, and in the wake of,
the figure. Here the body
itself is reshaped, as if the
new conditions of
modernity were
producing a new
man.
Muscular Dynamism (1913).
Umberto Boccioni (Italian, 1882-1916)Pastel and charcoal on paper, (86.3 x 59 cm),
MoMA.
Armored Train in Action, 1915.Gino Severini (Italian, 1883-1966)Charcoal on paper,
(56.9 x 47.5 cm), MoMA.
This study for the most famous of
the Futurist war paintings, The
Armored Train (1915),
incorporates an unusual aerial
perspective in its depiction of a
train filled with armed
soldiers. Severini enjoyed a
unique vantage point—from his
studio in Paris, he was able to
observe the constant movement
of trains filled with soldiers,
supplies, and weaponry.
Severini did not combat during
World War I, but he took the
advice of Marinetti to "try to live
the war pictorially, studying it
in all its marvelous mechanical
forms."
The Futurists glorified modern technology, and World War I, the
first war of the twentieth century to employ the technological
achievements of the industrial age in a program of mass destruction, was
for them the most important spectacle of the modern era. Their admiration
for speed—made possible by machinery—is represented here by the
fractured landscape, which accentuates the train's force and momentum
as it cuts through the countryside.Armored Train in Action foreshadows a fundamental principle of Severini's later art:
the "image-idea," in which a single image expresses the essence of an idea. Through a
depiction of the plastic realities of war—a train, canon, guns, and soldiers—he provides a
pictorial vocabulary necessary to grasp its deeper symbolism.
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Antonio Sant’Elia
Terraced Building with exterior elevators
1914
Manifesto of Futurist Architecture It must soar up on the brink of a tumultuous abyss: the street will no longer lie like
a doormat at ground level, but will plunge many stories down into the
earth, embracing the metropolitan traffic, and will be linked up for
necessary interconnections by metal gangways and swift-moving
pavements. The decorative must be abolished. The problem of Futurist
architecture must be resolved, not by continuing to pilfer from Chinese, Persian
or Japanese photographs or fooling around with the rules of Vitruvius, but
through flashes of genius and through scientific and technical expertise.
Everything must be revolutionized. Roofs and underground spaces
must be used; the importance of the façade must be diminished;
issues of taste must be transplanted from the field of fussy moldings, finicky
capitals and flimsy doorways to the broader concerns of bold groupings and
masses, and large-scale disposition of planes. Let us make an end
of monumental, funereal and commemorative architecture. Let us overturn
monuments, pavements, arcades and flights of steps; let us sink the streets and
squares; let us raise the level of the city.
I COMBAT AND DESPISE:
1. All the (fals) pseudo-architecture of the avant-garde, Austrian, Hungarian,
German and American;
2. All classical architecture, solemn, hieratic, scenographic, decorative,
monumental, pretty and pleasing;
3. The embalming, reconstruction and reproduction of ancient monuments
and palaces;
4. Perpendicular and horizontal lines, cubical and pyramidical forms that are
static, solemn, aggressive and absolutely excluded from our utterly new
sensibility;
5. The use of massive, voluminous, durable, antiquated and costly materials.
Manifesto of Futurist Architecture
AND PROCLAIM:
1. That Futurist architecture is the architecture of calculation, of audacious
temerity and of simplicity; the architecture of reinforced concrete, of
steel, glass, cardboard, textile fiber, and of all those substitutesf or wood,
stone and brick that enable us to obtain maximum elasticity and lightness;
2. That Futurist architecture is not because of this an arid combination of
practicality and usefulness, but remains art, i.e. synthesis and expression;
3. That oblique and elliptic lines are dynamic, and by their very nature
possess an emotive power a thousand times stronger than perpendiculars and
horizontals, and that no integral, dynamic architecture can exist that does not
include these;
4. That decoration as an element superimposed on architecture is absurd, and
that the decorative value of Futurist architecture depends solely on the
use and original arrangement of raw or bare or violently colored
materials; 5. That, just as the ancients drew inspiration for their art from the elements of
nature, we—who are materially and spiritually artificial—must find that
inspiration in the elements of the utterly new mechanical world we have created, and of which architecture must be the most beautiful
expression, the most complete synthesis, the most efficacious integration;
6. That architecture as the art of arranging forms according to pre-established
criteria is finished;
7. That by the term architecture is meant the endeavor to harmonize the
environment with Man with freedom and great audacity, that is to transform the
world of things into a direct projection of the world of the spirit;
From an architecture conceived in this way no formal or linear habit can grow,
since the fundamental characteristics of Futurist architecture will be its
impermanence and transience. Things will endure less than us. Every
generation must build its own city. This constant renewal of the
architectonic environment will contribute to the victory of Futurism which has
already been affirmed by words-in-freedom, plastic dynamism, music without
quadrature and the art of noises, and for which we fight without respite against
traditionalist cowardice.
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Architectural Study: Search for Volumes in an Isolated Building, ca. 1919, Sketch by Virgilio Marchi (Italian, 1895–1960)Pencil and watercolor on paper 15 1/4 x 22 1/2 in. (38.7 x 57.2 cm)
In its upwardly spiraling movement, this drawing
by Virgilio Marchi typifies Futurist architectural
design. It is one of several renderings made by Marchi
in 1919 and 1920 for an ideal contemporary city
that was never erected. His plans indicated the
preoccupation of the period with technological
advances in transportation and
construction. The building in the present study
resembles a cone—round at the bottom, pointed at the
top. There are tunneled areas and open archways below,
with stairs leading to various flat levels. The two towers
that rise from the center are openly constructed with
stairs and columns. A spotlight is perched on a beam
that extends from the peak of the left tower. The
sweeping curves and strong, linear slashes of this
beautiful drawing are reminiscent of Giacomo Balla's
earlier painted imagery.
Futurism was primarily concerned
with images of speed and motion,
which were intended to represent
the spirit of the modern age.
Although the greatest expression of
Futurism is found in the medium of
painting, there were some sculptural
pieces executed as well, most notably by
Umberto Boccioni. Architecture, a later
focus for the movement, provided
another three-dimensional forum for
Futurist ideas about dynamism. The
resulting schemes were visionary
imaginings that were difficult to
translate into actual structures
and so remained, for the most
part, studies on paper.
THREE MODERNIST
MOVEMENTS
FUTURISM CONSTRUCTIVISM PRECISIONISM
PERIOD: 1909-1918 1913-1932 1915-1930
LOCALE: Italy Russia United States
ARTISTS: Boccioni, Balla, Severeni,
Carrà, Russolo
Tatlin, Malevich,
Popova, Rodchenko,
Lissitzky, Gabo, Pevsner
Sheeler,
Demuth,
O’Keeffe
FEATURES: Lines of force
representing movement
and modern life
Geometric art, reflecting
modern technology
Sleek (düz) urban
and industrial forms
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Constructivism • Around 1914, Russian avant-gardes flourished with artists called Constructivists, like
Vladimir Tatlin, Luibov Popova, Kasimir Malevich, El Lissitzky, Alexander Rodchenko, Naum
Gabo, and Antonie Pevsner.
– From Cubism, the Constructivists borrowed broken shapes.
– From Futurism, they adopted multiple overlapping images to express agitated
(telaşlı) modern life.
– They pushed art from being representational, to being abstract.
THE POLITICAL CONDITION IN RUSSIA:
Three years later, in 1917, the well-known Russian revolution occured, and as a result of this
revolution, the Russian society is converted from a feudal state to a ―people’s republic.” Lenin
tolerated the avant-garde because he thought that with the help of those artists, and through
newly developed novel visual styles, it could be possible to teach the illiterate public his own
ideology. For a brief time, before Stalin cracked down, and banned ―elitist‖ easel painting,
Russia’s most adventurous artists led a social, as well as artistic, revolution.
They wanted to strip art, like the state, of petty bourgeois anachronisms (çağdışılık).
They tried to remake art, as well as society, from scratch.
The Monument to the Third International.
• About 1914, Tatlin (1885-1953) originated
Russian geometric art. He called his art,
which was highly abstract and was due an
intention to reflect modern technology as
“Constructivism.”
• The aim of Tatlin‟s
“Constructivism” was to
“construct” art, not to create it.The style recommended to use industrial
From Cubism, the Constructivists borrowed broken shapes.
From Futurism, they adopted multiple overlapping images to express agitated modern life.
Abstraction, overlapping of images, a new construction
Autonomous shots, recomposed in a new construction → MONTAGE
Bureau and Room, 1913
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Suprematist Composition: White on White 1918. Oil on canvas, 79.4 x 79.4 cm; MoMA
Kazimir Severinovich Malevich (February 23, 1879, previously 1878 – May 15, 1935) was a painter and art
theoretician, pioneer of geometric abstract art and the originator of the Avant-garde Suprematist (üstünlük)
movement. His squares floating on a white background and finally his white on white paintings simplified art more radically than ever before. Malevich wanted to “free art from the burden (yük) of the object.” He tried to make his shapes and colors as pure as musical notes, without reference to any recognizable
object.
• Malevich, who founded what he called Suprematism, believed in an extreme of reduction:
``The object in itself is meaningless... the ideas of the
conscious mind are worthless''.
• What he wanted was a non-objective representation, ̀ `the supremacy of pure feeling.'' This can
sound convincing until one asks what it actually means. Malevich, however, had no doubts as to what he
meant, producing objects of iconic power such as his series of White on White paintings or Dynamic
Suprematism (1916; 102 x 67 cm ), in which the geometric patterns are totally abstract.
• Malevich had initially been influenced by Cubism and primitive art, which were both based on nature,
but his own movement of Suprematism enabled him to construct images that had no reference at all
to reality.
• Great solid diagonals of color in Dynamic Suprematism are floating free, their severe sides denying
them any connection with the real world, where there are no straight lines.
• This is a pure abstract painting, the artist's main theme being the internal movements of the
personality.
• The theme has no precise form, and Malevich had to search it out from within the visible expression of
what he felt. They are wonderful works, and in their wake came other powerful Suprematist painters
such as Natalia Goncharova and Liubov Popova.
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Suprematist Composition: White on White 1918. Oil on canvas, 79.4 x 79.4 cm; MoMA
Malevich described his
aesthetic theory, known as
Suprematism, as "the
supremacy (üstünlük) of
pure feeling or perception in
the pictorial arts."
He viewed the Russian
Revolution as having paved
the way for a new society in
which materialism would
eventually lead to spiritual
freedom.
This austere painting counts
among the most radical
paintings of its day, yet it is not
impersonal; the trace of the
artist's hand is visible in the
texture of the paint and the
subtle variations of white.
The imprecise outlines of the
asymmetrical square generate
a feeling of infinite space
rather than definite borders.
Black Square, 1915, Oil on Canvas, State Russian Museum, St.Petersburg
At the exhibition 0.10, the Black
Square (1915; Moscow),
painted on a square canvas
surrounded by a margin of
white, was hung across the
corner of the separate room
where works by Malevich and
his followers were displayed; it
was announced as the essential
Suprematist work.
On the one hand, it was
radically nihilistic and could be
interpreted as a gesture of
rejection, providing no
narrative, theme,
composition or picture space, apparently rejecting all
pictorial conventions and
offering a canvas of
unprecedented blankness; on
the other hand, suspension
across the corner of a room was
a common way to display
domestic icons, and by referring
to this tradition its rejection of
convention was not total.
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Black Circle,1913-1915
Suprematism
Term coined in 1915 by
Kazimir Malevich for a new
system of art, explained in
his booklet :
Ot kubizma i futurizma k
suprematizmu: Novyy
zhivopisnyy realizm
„From Cubism and
Futurism to
Suprematism: the new
realism in painting‟
Followed by the Black
Circle (one version after 1920; St
Petersburg, Rus. Mus.) and the
Black Cross (Paris, Pompidou),
the Black Square can be
related to an icon tradition
that survived so strongly in
Russia, using ancient forms
that were increasingly
admired by Russian artists
seeking to exert their
independence from western
European traditions.
Suprematism (Self-Portrait), 1916
The term itself implied the supremacy of
this new art in relation to the past.
Malevich saw it as purely aesthetic
and concerned only with
form, free from any political or
social meaning.
He stressed the purity of shape,
particularly of the square, and he
regarded Suprematism as primarily an
exploration of visual language comparable
to contemporary developments in writing.
Suprematist paintings were first displayed
at the exhibition ―The last Futurist exhibition
of paintings: 0.10‖ held in Petrograd (now St
Petersburg) in December 1915; they
comprised geometric forms which
appeared to float against a white
background.
While Suprematism began before the
Revolution of 1917, its influence, and the
influence of Malevich’s radical approach to
art, was pervasive in the early Soviet
period.
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Suprematism (Supremus No. 58) 1916; Oil on canvas, 79.5 x 70.5 cm;
State Russian Museum, St. Petersburg
Malevich declared that the Black
Square constituted the „zero of form‟,
an end to old conventions and the
origin of a new pictorial
language. The forms of this
language were strictly geometrical as
in the Suprematism series, but they
rapidly evolved into increasingly
complex paintings in which the
geometrical elements employed richer
colours and inhabited an ambiguous
and complex pictorial space.
Suprematism, 1916-17; Oil on canvas, 80 x 80 cm; Fine Arts Museum, Krasnodar
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Suprematist Painting 1917; Oil on canvas, 96.5 x 65.4 cm; The Museum of Modern
Art, New York
Lyubov Sergeyevna Popova(April 24, 1889 – May 25, 1924) was a Russian avant-garde artist (Cubist, Suprematist and Constructivist), painter and
designer. She was also a rarity in the highly
masculine world of Soviet art. She added glowing color to Analytical Cubism.
Air+Man+Space, 1912
Through a synthesis of styles, Popova
worked towards what she termed painterly
architectonics. After first exploring
Impressionism, by 1913, in Composition with
Figures, she was experimenting with the
particularly Russian development of
Cubo-Futurism: a fusion of two equal
influences from France and Italy.
03.11.2011
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Aleksander Mikhailovich Rodchenko [O.S. 23 November] 1891 – December 3, 1956) was a Russian artist, sculptor,
photographer and graphic designer. He was one of the founders of constructivism and Russian design; he was married to the
artist Varvara Stepanova. -Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the
Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography
was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary
photo series, he often shot his subjects from odd angles—usually high above or below—to shock the viewer and to postpone
recognition. He wrote: "One has to take several different shots of a subject, from different points of
view and in different situations, as if one examined it in the round rather than looked
through the same key-hole again and again."
1920s. Rodchenko and Stepanova
Rodchenko Poster/Flier
Lazar Markovich Lissitzky (November 23, 1890 – December 30, 1941), better known as El Lissitzky, was a Russian artist,
designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant garde, helping
develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for
the former Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with
production techniques and stylistic devices that would go on to dominate 20th-century graphic design.
Perhaps the most famous work by
Lissitzky from the same period was the
1919 propaganda poster, Beat the Whites
with the Red Wedge.
In the poster, the intrusive red wedge
symbolizes the Bolsheviks, who are
penetrating and defeating their opponents,
the Whites, during the Russian Civil War.
Russia was going through a civil war at the
time, which was mainly fought between the
"Reds" (communists and revolutionaries)
and the "Whites" (monarchists,
conservatives, liberals and socialists who
opposed the Bolshevik Revolution).
The image of the red wedge shattering the
white form, simple as it was,
communicated a powerful message that
left no doubt in the viewer's mind of its
intention. The piece is often seen as
alluding to the similar shapes used on
military maps and, along with its
political symbolism, was one of El
Lissitzky's first major steps away from
Malevich's non-objective suprematism into
a style his own.
“Beat the Whites with the Red Wedge", a 1919 lithograph by Lissitzky