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Kazimir Malevich, The Aviator 1914; Oil on canvas, 125 x 65 cm (49 1/4 x 25 5/8 in);
Suprematist Composition: Airplane Flying, 1915 (dated on reverse 1914), Oil on canvas, 22 7/8 x 19"
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Black Circle [1913] 1923-29; Oil on canvas, (41 1/2 x 41 1/2 in)
Black Square and Red Square 1915; Oil on canvas, (28 x 17 1/2 in)
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White on White, 1918
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Constructivism 1917 - 1930s
El Lissitzky
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The Constructivist Culture
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El Lissitzky
Self-Portrait
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1919, Lithograph
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Beat the Whites with the Red Wedge, 1919, Lithograph
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"The artist constructs a new symbol with his brush. This symbol is not a recognizable form of anything which is already finished, already made, already existing in the world - it is a symbol of a new world, which is being built upon and which exists by way of people."
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pages from For the Voice (1923) Poem by Mayakovsky
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Click icon to add full page picture
"The space must be a kind of showcase, a stage, on which the pictures make their appearance as actors in a drama (or comedy). It should not imitate a living space."
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The Story of the Little Red Square
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Distinct break from conventional typography:
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Sans-serif
Use of photography(new-ish technology)
Bold, basic colors
Distinct break from old typography: • discarding of decorative concepts
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Distinct break from old typography: • a turn to functional design (design functions as
content)
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El Lissitzky• major contributor to “new
typography”
“Topography of Typography,” from the magazine Merz, 1922
• “On the printed page words are seen, not heard.”
• “Economy of Expression - visual, not phonetic.”
• “The new book demands the new writer. Ink-pots and goose-quills are dead.”
• “The printed page transcends time and space. The printed page, the infinity of the book, must be transcended. THE ELECTRO-LIBRARY.”
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Aleksandr Rodchenko
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Rodchenko, poster, 1924
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Paperback Book Covers, 1924
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Poster, 1923, Text by V.Mayakovsky.
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Aleksandr Rodchenko and Vladimir Mayakovsky, Box for Our Industry caramels, 1923
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Tatlin, Monument to the Third International, 1920
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