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“Monuments of the Future”: Designs by El Lissitzky

T h e R u s s i a n a r t i s t E l L i s s i t z k y ( 1 8 9 0 -1 9 4 1 ) w a s o n e o f t h e g r e a t a v a n t-g a r d e f i g u r e s o f

the early twentieth century. The Getty Research Institute holds a remarkable array of

materials on Lissitzky, including book and periodical designs, his complete

c o r r e s p o n d e n c e t o h i s w i f e , S o p h i e L i s s i t z k y -K ü p p e r s , p h o t o g r a p h s o f h i s e x h i b i t i o n

designs, his two personal address books, and additional manuscripts related to his life

and work.

T h e e x h i b i t i o n “ Monuments of the Future”: Designs by El Lissitzky, w h i c h w a s o n

display at the Getty Research Institute from November 21, 1998 through February 21,

1999, e x p l o r e d L i s s i t z k y ’ s c a re e r a s a t y p o g r a p h e r , b o o k d e s i g n e r , a n d a r c h i t e c t . T h i s

Web site takes its inspiration from the design of the exhibition and shows most of the

materials that were on display, grouped according to their original sections. In

addition, the Web site links to related holdings on Lissitzky and Russian modernism in

the Getty Research Library and in other museums and archives.

Lissitzky's career was deeply marked by the social and political upheavals of the early

twentieth century. He consistently sought to cre ate bold and powerful artwork that

would further the causes in which he believed.

As a young artist, Lissitzky aided the movement to revive Russian Jewish culture,

studying the architecture and ornaments of old synagogues and illustrating Yiddish

books. His lifelong engagement with abstract art began in early 1920, soon after he met

the artist Kazimir Malevich. Upon settling in Berlin in 1921, Lissitzky was inspired by

the utopian dream of internationalism to embark on a quest for a pictorial vocabulary

th a t w o u l d b e u n i v e r s a l . I n h i s l a t e r y e a r s , L i s s i t z k y s p o k e o f a s e l f-i m p o s e d s o c i a l

mission, which required that he align his artistic aims with the goals of the Soviet state.

Lissitzky’s art displays his ongoing absorption not only in higher causes but also with

particular visual images and artistic mediums. For example, the image of the

disembodied hand first appears in Lissitzky’s work as the hand of God in a book

i l l u s t r a t i o n o f 1 9 1 9 ; i t r e t u r n s a s t h e h a n d o f t h e a r t i s t i n t h e Constructor (Self-Portrait) of

1924, in his advertisements for Pelikan Ink, and in later Stalinist designs. L e t t e r s --

H e b r e w , C y r i l l i c , o r L a t i n --f e a t u r e p r o m i n e n t l y i n h i s b o o k d e s i g n s , l i t h o g r a p h i c

p o r t f o l i o s , a n d S o v i e t e x h i b i t i o n s p a c e s , s e r v i n g b o t h a s a r c h i t e c t u r a l e l e m e n ts a n d a s

visual symbols. The book as a dynamic object is a theme that Lissitzky sounds

repeatedly. “In contrast to the old monumental art,” he notes, “[the book] itself goes to

the people, and does not stand like a cathedral in one place waiting for someone to

approach.”

Lissitzky regarded the book as a “unity of acoustics and optics” that requires the

viewer’s active involvement, and, more than any other medium, he found in the book

his “monument of the future.”

Futurist Beginnings

In this section of the Web site, a book design showing Lissitzky’s youthful

experimentation with Russian futurism is placed in the context of the visual and poetic

work of his contemporaries. When Lissitzky returned to Russia in 1914 from Germany,

where he had been studying architectural engineering, he discovered a vital futurist

movement in which visual artists and writers drew inspiration from the dynamism and

fractured forms of Italian futurism and French cubism.

H i s e a r l i e s t b o o k d e s i g n , f o r a c o l l e c t i o n o f p o e m s e n t i t l e d Solntse na izlete ( S p e n t S u n ,

#1), was published in 1916 by Tsentrifuga (Centrifuge), a group of futurist poets that

also published books illustrated by Natalia Goncharova. By aligning himself with

T s e n t r i f u g a a n d w i t h a n e x i s t i n g a v a n t-g a r d e s t y l e , L is s i t z k y f o u n d h i m s e l f a t t h e

forefront of new artistic and poetic developments.

Yiddish Book Design

Following the February Revolution of 1917, Lissitzky moved from Moscow to Kiev,

where he participated actively in a movement to create a modern secular Je wish culture

in Russia. The new Provisional Government abolished laws that had barred Russian

Jews from citizenship and repealed a decree that prohibited the printing of Hebrew

letters. Between 1917 and 1919, at a time when publishing books in Yiddish was

suddenly possible, Lissitzky devoted himself to illustrating Yiddish books.

His first designs appeared in Sihas hulin: Eyne fun di geshikhten ( A n E v e r y d a y

C o n v e r s a t i o n : A S t o r y , # 7-8 ) , p u b l i s h e d i n 1 9 1 7 . T h e o r n a m e n t-d r a w i n g s i n t h i s b o o k

incorporate Hebrew letters into a curvilinear art nouveau design. In his illustrations

f r o m 1 9 1 9 f o r t h e P a s s o v e r s o n g , Had gadya ( O n e G o a t , # 5-6 ) , w h e r e t e x t i s s h o r t a n d

image has a more prominent role, Lissitzky integrated letters with images through a

system of color coding that matched the color of the characters in the story with the

word referring to them. He would return to this novel typographic device in later

designs. In his setting of the final verse of the Passover song, Lissitzky depicts the

m i g h t y h a n d o f Go d s l a y i n g t h e a n g e l o f d e a t h , w h o w e a r s t h e c z a r ’ s c r o w n . T h i s

representation links the redemption of the Jews with the victory of the Bolsheviks.

Proun
Lissitzky entered a period of abstract art inspired by revolutionary ideas when Marc

Chagall invited him to teach graphic arts, printing, and architecture at the People’s Art

School in Vitebsk in 1919. There Lissitzky met Kazimir Malevich and was impressed by

his system of nonobjective art, Suprematism.

Lissitzky joined UNOVIS (Affirmers of the New Art), a collective of students and

teachers that Malevich founded in order to promote Suprematism and bring it to the

city’s streets and squares. By 1920, however, Lissitzky had invented his own form of

a b s t r a c t a r t , f o r w h i c h h e c o i n e d t h e t e r m Proun ( P r o j e ct f o r t h e A f f i r m a t i o n o f t h e N e w ) .

L i s s i t z k y ’ s Proun c o m p o s i t i o n s u t i l i z e s h i f t i n g a x e s a n d m u l t i p l e p e r s p e c t i v e s t o

convey the idea of rotation in space. “We brought the canvas into circles,” he declared

i n 1 9 2 1 , “ a n d w h i l e w e t u r n , w e r a i s e o u r s e l v e s i n to t h e s p a c e . ”

The section of the Web site on Vitebsk juxtaposes the black square of Malevich, seen in

h i s p a m p h l e t Suprematizm. 34 risunka ( S u p r e m a t i s m . 3 4 D r a w i n g s , # 1 4 ) , w i t h w o r k s

by Lissitzky that were directly inspired by Suprematism and produced as part of his

a c t i v i t y w i t h U N O V I S . L i s s i t z k y ’ s Lenin Tribune (Proun no. 85) ( # 1 2 ) i n c o r p o r a t e s a

tribune, or speaker’s platform, that was originally designed by Ilya Chashnik, a fellow

UNOVIS artist. The red cube supporting the platform symbolizes the “mark of the

world revolution in the arts.” Following Lenin’s death in January 1924, Lissitzky

montaged a photograph of Lenin onto a little podium and placed him on the platform

under a screen bearing the word “Proletarii” (Proletarians).

A l s o i n t h i s s e c t i o n i s Suprematicheskii skaz pro dva kvadrata v shesti postroikakh

(Suprematist Story of Two Squares in Six Constructions, #10), Lissitzky’s first children’s

b o o k t o c o m b i n e a b s t r a c t Proun f o r m s w i t h a n e w a p p r o a c h t o t y p o g r a p h y . A n a l l e g o r y

of the recent revolution, the book tells the story of two squares, one red and the other

black, who join forces to shatter chaos and establish a new order. Lissitzky instructed

children to act out the story using paper, rods, and blocks.
In Berlin, Lissitzky continued to pursue his goals of an international pictorial language,

d e s i g n i n g c o v e r s f o r t h e A m e r i c a n m a g a z i n e Broom ( # 2 4 ), t h e b o o k s Ravvi ( R a b b i , # 2 1 )

a n d Ptitsa bezymiannaia ( N a m e l e s s B i r d , # 2 0 ) , a n d t h e e x h i b i t i o n c a t a l o g u e Erste

Russische Ausstellung ( F i r s t R u ss i a n Exhibition, #23), in which he combined

t e c h n i q u e s o f r o t a t i o n i n t h r e e -d i m e n s i o n a l s p a c e w i t h a n e w t r e a t m e n t o f t h e l e t t e r

(Cyrillic and Latin).

Jewish Works from the Proun Period

Jewish themes and symbols, which played such an important role in Lissitzky’s book

d e s i g n s b e t w e e n 1 9 1 7 a n d 1 9 1 9 , s o m e t i m e s r e t u r n e d i n h i s a b s t r a c t Proun d e s i g n s . I n

these instances, Lissitzky treats the Hebrew letter as part of the typography and

s o m e t i m e s a s a v i s u a l c o d e . F o r i n s t a n c e , h i s c o v e r f o r t h e b o o k 4 Teyashim ( F o u r B i l l y

Goats, #27), published in 1922, shows an arrangement of Hebrew letters as architectural

e l e m e n t s i n a d y n a m i c d e s i g n t h a t m i r r o r s h i s c o n t e m p o r a r y Proun t y p o g r a p h y .

I n h i s i l l u s t r a t i o n f o r E h r e n b u r g ’ s s h o r t s t o r y “ S h i f s -K a r t a ” ( P a s s e n g e r T i c k et, #32),

Lissitzky positions the two Hebrew letters “pei nun,” signifying “here lies,” on a raised

palm. Literally referring to Malevich’s passionate appeal: “Let the rejection of the old

world of art be inscribed on the palms of your hands,” Lissitzky expresses here the

death of the story’s protagonist as well as the end of an entire era. “Here lies” declares

t h e e n d o f t h e o l d E a s t e r n E u r o p e a n J e w i s h l i f e , a n d o f t h e p r e -r e v o l u t i o n a r y , p r e -

Soviet world.

The meaning of the letters has a more directly au tobiographical significance as well:

w h e n c o m p l e t i n g “ S h i f s -K a r t a , ” L i s s i t z k y h a d r e c e n t l y a r r i v e d i n G e r m a n y a n d d i d n o t

know whether he would return to Russia (the old world) or continue moving on his

path from East to West. For the next three years, Lissitzky would remain in Germany

and Switzerland, working with various collaborators. During this time he developed a

close friendship with his future wife Sophie Küppers.

Theories of Modernism

The works in this section highlight Lissitzky’s participation in critical modernist

d e b a t e s a n d h i s i n t r o d u c t i o n o f Proun t h e o r y t o E u r o p e a n a r t i s t s . A s o n e o f t h e f e w

Russians of his generation who could speak German fluently, Lissitzky was in a

position to advance his theories through lectures, articles, and designs for books and

p e r i o d i c a l s f o r G e r m a n -s p e a k i n g a u d i e n c e s .

N o t l o n g a f t e r h e c o m p l e t e d h i s Sieg über die Sonne ( V i c t o r y O v e r t h e S u n ) p o r t f o l i o ,

Lissitzky was asked by the Dada artist Kurt Schwitters to work on a special issue of the

D a d a j o u r n a l Merz. Th e A p r i l -J u l y 1 9 2 4 i s s u e , w h i c h t h e y c o e d i t e d , w a s d e s i g n e d b y

L i s s i t z k y a n d g i v e n t h e t i t l e Nasci ( N a t u r e , # 3 5 -3 6 ) . T h e t e x t , c o n s i s t i n g o f a f o r e w o r d

and captions for a series of paired images, calls upon artists to set aside the machine in

f a v o r o f “ n a tu r a l ” f o r m s s u c h a s c r y s t a l s a n d p l a n t s , a n d a r g u e s t h a t a r t f o l l o w

principles of organic growth, economy, and balance.

L i s s i t z k y ’ s t y p o g r a p h i c d e s i g n f o r t h e f r o n t a n d b a c k c o v e r s o f Nasci c a p t u r e s t h e s e

ideas visually through a spare layout, ample use of open space, and a harmonious

a r r a n g e m e n t o f t e x t o n t h e v e r t i c a l a n d h o r i z o n t a l a x e s o f a g r i d . F o l l o w i n g Nasci,

Lissitzky embarked on a new collaboration, this time working with Hans Arp on

Kunstismen ( T h e i s m s o f A r t , # 3 7 -3 8 ) , a h i s t o r i c a l s u r v e y o f m o d e r n a r t .

Victory over the Sun

L i t h o g r a p h s f r o m L i s s i t z k y ’ s Victory over the Sun p o r t f o l i o o f 1 9 2 3 ( # 4 0 -49) illustrate

h i s u s e o f Proun v i s u a l d e v i c e s t o d e s i g n c o s t u m e s a n d m a c h i n e r y f o r t h e s t a g e . W h i l e

working in Vitebsk in 1920, Lissitzky saw a perfo rmance of the Russian futurist opera

Victory over the Sun, w h i c h w a s f i r s t p r o d u c e d i n 1 9 1 3 w i t h a l i b r e t t o b y A l e k s e i

Kruchenykh and sets and costumes designed by Malevich.

I n r e c a s t i n g t h e o p e r a a s a n “ e l e c t r o m e c h a n i c a l ” s h o w f o r f i g u r i n e s , L i s s i t z k y us e d

M a l e v i c h ’ s --t h a t i s , U N O V I S ’ s --s i g n a t u r e b l a c k a n d r e d s q u a r e s b u t t r a n s f o r m e d

M a l e v i c h ’ s S u p r e m a t i s t s h a p e s i n t o Proun f i g u r e s c o n s t r u c t e d o f t r a n s p a r e n t p r i s m s

and metallic rods, bending and receding in space.

T o K r u c h e n y k h ’ s p l o t--t h e N e w M a n t e a rs d o w n t h e s u n , s y m b o l o f o l d -w o r l d

rationality; the Gravediggers bury the victims; the Announcer heralds victory; and the

S p o r t s m e n s i n g t h e s o n g o f t h e f u t u r e --L i s s i t z k y i n t r o d u c e d t h e r o l e o f t h e D e s i g n e r o f

the Spectacle, who controls the light, the sound, and the movement of the figurines. His

experimentation with electromechanical devices, radical for its time, was influenced by

the mechanical shows of abstract figurines performed at the Weimar Bauhaus in the

summer of 1923.

Marketing Pelikan Ink

Lissitzky became seriously ill with tuberculosis in 1923 and went to Switzerland for

treatment. During his convalescence, he supplemented his income by designing

typographic and photographic advertisements for Pelikan, an office supply company

based in Hanover. Kurt Schwitters, who was living in Hanover and working for

Pelikan, probably introduced Lissitzky to the firm.

Several of Lissitzky’s advertising designs are displayed in this section, including a

p h o t o g r a p h o f h i s w o o d -p a n e l a d v e r t i s i n g r e l i e f f o r P e l i k a n t y p e w r i t e r r i b b o n s ( # 5 8 ) ,

which he intended “for a shop window, for vitrines in train stations, and, above all,

wherever there is traffic.” T h e t r a n s f e r o f n e w t y p o g r a p h i c t e c h n i q u e s a n d Proun s p a t i a l

i d e a s t o a d v e r t i s i n g c a n b e s e e n i n t h e k i n e t i c effect of the circular mirror in the

shopwindow relief, the diagonal position of the large capital P in Pelikan, and the

interplay of optical effects and tactile materials (stained wood, veneer, lacquer).

The image of the artist’s hand with Pelikan drawing ink and compass in an

a d v e r t i s e m e n t o f 1 9 2 5 ( # 5 1 ) h a d i t s s o u r c e i n The Constructor ( # 5 0 ) , a r e m a r k a b l e
photomontage and photogram that Lissitzky created in December 1924. In this piece,

Lissitzky gazes out at the viewer, the palm of his hand is superimposed over an all-

seeing right eye, and his fingers hold a compass. Lissitzky represents himself here as

t h e “ a r t i s t-c o n s t r u c t o r , ” a n a r t i s t w h o s e h a n d h a s d i s c a r d e d t h e p a i n t b r u s h f o r t h e

c o m p a s s , t h e b l a n k s h e e t f o r t h e s h e e t o f g r a p h p a p e r . The Constructor r e v e a l s

Lissitzky’s indebtedness to the Constructivist concept of the artist as engineer of the

world.

Architecture and the Demonstration Space

In 1925, after the Swiss government denied his request to renew his visa, Lissitzky

returned to Moscow and p lunged into the design of architectural projects. Most

significant was his invention, with the Swiss architect Emil Roth, of a skyscraper for

M o s c o w t h a t h e c a l l e d t h e Wolkenbügel ( C l o u d -I r o n , # 6 5 -6 7 ) . T h e Wolkenbügel

contradicted America’s vertical b u i l d in g style, because the building expanded

horizontally in the air to save space on the ground.

Lissitzky published an article about his skyscraper project in 1926 in the only issue of

t h e M o s c o w -b a s e d a r c h i t e c t u r a l r e v i e w ASNOVA ( T h e A s s o c i a t i o n o f N e w A r c hitects,

# 6 8 ) . H e w r o t e a r t i c l e s f o r b o t h ASNOVA a n d t h e G e r m a n a r t j o u r n a l Das Kunstblatt i n

which he proposed a new “rational architecture” for East and West that would involve

modern architects and “rationalized labor” joining forces with science and high

technology.

Included in this section of the Web site are some of Lissitzky’s other architectural

concepts and documents from his teaching at the art school VKhUTEMAS (State Higher

A r t i s t i c a n d T e c h n i c a l W o r k s h o p s ) . T h e s e c t i o n a l s o s h o w s p h o t o g r a p h s of t h e t w o

“ d e m o n s t r a t i o n s p a c e s ” t h a t L i s s i t z k y c r e a t e d i n G e r m a n y : Room for Constructivist Art

( D r e s d e n , 1 9 2 6 , # 6 9 -7 1 ) a n d Abstract Cabinet ( H a n o v e r , 1 9 2 7 -1 9 2 8 , # 7 2 ) . L i s s i t z k y

designed these spaces to encourage the participation of visitors, who could slide
panels to reveal or hide pictures, alter lighting, and pop up various documents in a

rotating case.

Printing Trades and Pressa Exhibitions

In the following years, Lissitzky was commissioned by the Soviet government to design

e x h i b i t i o n s p a c e s . A p p o i n ted chief artist for the All-U n i o n P r i n t i n g T r a d e s E x h i b i t i o n

h e l d i n M o s c o w i n 1 9 2 7 , h e d e s i g n e d t h e i n s t a l l a t i o n ( # 9 3 -9 7 ) , t h e c a t a l o g ( g u i d e b o o k )

(#101), and the bulletin (#98).

In 1928 Lissitzky received the commission to serve as chief artist for th e Soviet Pavilion

at the International Press Exhibition in Cologne. Lissitzky directed the creation of a

revolutionary exhibition design that brought together architecture, graphic design,

photography, sound, and film in the service of one idea: informing an international

audience about the significance of the press in Soviet society since the Revolution. His

photomurals and his emphatic use of the letter in every size and thickness and type,

running in various directions, transformed the Soviet Pavilion into an enormous

illustrated book.

Film and Photo

I n h i s g r a p h i c d e s i g n s f o r b o o k s a n d e x h i b i t i o n s d u r i n g t h e y e a r s 1 9 2 7 -1 9 3 0 , L i s s i t z k y

turned increasingly to film and photography. For the cover of the brochure

Architecture. VKhUTEMAS ( # 1 0 8 ), w h i c h h e p r o d u c e d i n 1 9 2 7 , h e b r i n g s b a c k t h e

p h o t o m o n t a g e o f t h e h a n d w i t h a c o m p a s s f r o m t h e Constructor o f 1 9 2 4 . H e r o t a t e s t h e

image to create a symbolic gesture in which the vertical hand and the compass, opened

at a forty -f i v e d e g r e e a n g l e , e c h o t h e t y p o g r a p h i c a r r a n g e m e n t o f t h e t h r e e t i t l e w o r d s .

O n t h e c o v e r s f o r t h e a l b u m Foto -Auge. OEil et Photo. Photo -Eye ( # 1 0 4 ) a n d t h e c a t a l o g

for the Japanese Cinema Exhibition of 1929 (#105), Lissitzky refers back to this visual

motif. The title of the former, and the visual montage of a movie camera and a human
eye on the cover of the latter both convey the message that technology expands human

vision and creativity.

Designs for the Future

This section highlights 1930, the year in which Sophie and El Lissitzky’s son, Je n, was

born. Lissitzky created a birth announcement in the form of a photomontage,

superimposing an image of the infant Jen over a factory chimney and whistle. By

linking Jen’s future with his country’s industrial progress, Lissitzky offered a personal

end orsement of the Soviet Union. Lissitzky’s commissioned designs for the

International Hygiene Exhibition in Dresden (1930) and the Fur Trades Exhibition in

Leipzig (1930, # 1 2 2 -1 2 6 ) deploy large lettering, photomurals, and startling

juxtapositions of real objects with naturalistic and abstract forms to convey an

optimism about Soviet developments in social welfare.

USSR in Construction

T h e f i n a l s e c t i o n p r e s e n t s t w o i s s u e s o f t h e S o v i e t p r o p a g a n d a p u b l i c a t i o n , USSR in

Construction, f o r w h i c h L i s s i t z k y w o r k e d a s a d e s i g n e r d u r i n g t h e l a s t d e c a d e o f h i s

life when he was very ill. The journal was published in the Soviet Union in four

languages and was meant to provide Western European audiences with information

about Soviet industry, economy, and culture.

L i s s i t z k y ’ s d e s i g n s f o r USSR in Construction, w h i c h h e c o m p a r e d t o t h e p l a n n i n g o f

exhibitions, often consist of l a r g e r-than-l i f e photographic spreads, such as the

p a n o r a m i c v i e w o f s o c i a l h o s p i c e s i n t h e O c t o b e r 1 9 3 6 i s s u e ( # 1 2 9 ) a n d t h e p o s t e r-s i z e

portrait o f S t a l i n i n t h e D e c e m b e r 1 9 3 7 i s s u e o n t h e “ S o v i e t C o n s t i t u t i o n ” ( # 1 2 7 ) . T h e

spreads were intended to convey a mythologized image of Soviet reality, with each

n u m b e r d e v o t e d t o a s i n g l e t h e m e . L i s s i t z k y p r o d u c e d h i s l a s t d e s i g n f o r USSR in

Construction i n O c t o b e r 1 9 4 0 . I n 1 9 4 1 , t h e y e a r o f h i s d e a t h , h e s i g n e d a c o n t r a c t f o r t h e

artistic-t y p o g r a p h i c a l d e s i g n o f t h e c o l l e c t e d w o r k s o f L e n i n . H e w a s a l s o a t w o r k

designing two posters promoting Soviet Russia’s war effort, one entitled “Davaite
pobolshe tankov” (Give Us More Tanks), and the other on the theme of Nazi tyranny.

To the end of his life, Lissitzky continued to align his art with the social and political

causes of his time, including the cause of Soviet Communism.

Images Used on the Web site

T h e l e tt e r s , p h o t o g r a p h s , a n d d o c u m e n t s , a n d m a n y o f t h e b o o k s d i s p l a y e d i n t h i s W e b

site are from two of the Getty Research Library’s archival collections: El Lissitzky

Letters and Photographs, acquired in 1995 from Lissitzky’s son, Jen; and the Jan and

E d i t h T sc h i c h o l d P a p e r s , w h i c h i n c l u d e l e t t e r s a n d g r a p h i c d e s i g n s s e n t t o T s c h i c h o l d

b y a r t i s t s o f t h e i n t e r n a t i o n a l a v a n t-g a r d e . F i v e o f t h e p h o t o g r a p h s a r e f r o m t h e J . P a u l

Getty Museum and are so noted. Books and periodicals are also drawn from the Getty

Research Library’s extensive collection on Russian modernism, which includes a copy

of nearly every important book Lissitzky designed.

Text by Nancy Perloff and Eva Forgacs

http://www.getty.edu/research/tools/digital/lissitzky/

For more information on El Lissitzky and related holdings in the Getty Research

Library at the Getty Research Institute, contact the Research Library’s Reference Desk at

(310) 440-7 3 9 0 , o r e m a i l : reference@getty.edu

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