El Lissitsky: Work

“It has become obvious to the new architect that by virtue of his work he is taking an active part in the building of a new world. For us the work of an artist has no value 'as such'; it does not represent an end in itself; it has no intrinsic beauty. The value of a work of art is determined by its relationship to the community... The artist, or the creative worker, invents nothing; there is no such thing as divine inspiration. Thus we understand by the term 'reconstruction' the conquest of the unresolved, of the 'mysterious,' and the chaotic. In our [Russian] architecture, as in our entire life, we are striving to create a social order, i. e., to raise the instinctive to a conscious level.”

El Lissitsky

Quote from: 'Ideological Superstructure'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

Life , World , Beauty , Art

“.. into this chaos [after the Bolshevik' revolution] came suprematism extolling the square [referring to the Squares of Malevich] as the very source of all creative expression, and then came communism and extolled work as the true source of man's heartbeat.”

El Lissitsky

Quote, 1920; in 'Suprematism in World Reconstruction,', El Lissitzky; as cited by Sophie Lissitzky-Küppers in El Lissitzky: Life, Letters, Texts, transl. Helene Aldwinckle and Mary Whittall (Greenwich, Conn.: New York Graphic Society, 1968), p. 327
1915 - 1925

Communication

“We must take note of the fact that the artist nowadays is occupied with painting flags, posters, pots and pans textiles and things like that. What is referred to as 'artistic work' has on the vast majority of occasions nothing whatever to do with creative effort: and the term 'artistic work' is used in order to demonstrate the 'sacredness' of the work which the artist does at his easel. The conception of 'artistic work' presupposes a distinction between useful and useless work and as there are only a few artists buyers can be found even for their useless products. The artist's work lies beyond the boundaries of the useful and the useless.”

El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

Effort , Painting

“And amid the thunderous roar of a world in collision WE, ON THE LAST STAGE OF THE PATH TO SUPREMATISM BLASTED ASIDE THE OLD WORK OF ART LIKE A BEING OF FLESH AND BLOOD AND TURNED IT INTO A WORLD FLOATING IN SPACE. WE CARRIED BOTH PICTURE AND VIEWER OUT BEYOND THE CONFINES OF THIS SPHERE AND IN ORDER TO COMPREHEND IT FULLY THE VIEWER MUST CIRCLE LIKE A PLANET ROUND THE PICTURE WHICH REMAINS IMMOBILE IN THE CENTER. The empty phrase 'art for art's sake' had already been wiped out.”

El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

World , Art

“In America the architect has a direct and continuing relationship with technology. Perhaps this is why he does not ask more from technology than it can offer. In our country [Russia] it is still impossible to have such urban complexes as are found in Paris, Chicago, or Berlin. It is through technology that we can build a bridge to all the most recent achievements, which is what made it possible for our country to pass directly from the hoe to the tractor without having to travel the long path of historical development. That is why we want to introduce the most modern methods of building and construction into our country — and why we see the works and designs of both the 'formalists' and the 'constructivists' as a radical experiment in the manipulation of construction.”

El Lissitsky

Quote from: 'Basic Premises'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

Travel , Country

“From the beginning of the [Sovjet] Revolution I was a member of the Committee for Art. Was commissioned for the first Soviet flag for the First of May 1918, which was carried across Red Square by members of the government. Later I worked at 'Izo Narkomprosa'. From 1919 I taught at the Higher Artists' Workshops in Vitebsk”

El Lissitsky

our students Suetin, Judin and others
[the 'Vitebsk Higher Institute of Art'; - Lissitsky and Kazimir Malevich were invited to teach art by the director then Marc Chagall ]
1926 - 1941, Autobiography of the artist' (1941)

Art

“Back in Moscow in 1925 - teacher at 'Vchutemas' of interior design and furniture at the faculty of wood and metalwork. In 1926 my most important artistic work began: designing exhibitions. In that year I was invited by the committee of the International Exhibition of Art in Dresden to design the space for contemporary art. Was sent abroad for by 'VOKS.”

El Lissitsky

[In] 1927 Exhibition of Typography in Moscow.
1926 - 1941, Autobiography of the artist' (1941)

Art , Teachers

“Therefore THE IDEA OF 'ARTISTIC WORK' MUST BE ABOLISHED AS A COUNTER-REVOLUTIONARY CONCEPT OF WHAT IS CREATIVE and work must be accepted as one of the functions of the living human organism in the same way as the beating of the heart or the activity of the nerve centers, so that it will be afforded the same protection.”

El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

Way , Idea , Heart

“During my stay in Germany in 1922 I collaborated with the writer Ehrenburg, on the Magazine 'Veshch' (Gegenstand) [= Object] (first pro-Soviet edition). [I] Took part in organizing the First Russian Art Exhibition 1922-23 in Berlin and Amsterdam. My works were purchased by European and American collectors and museums. The museum in New York acquired a 'Proun' from the Soviet Exhibition. At this time, in 1923, I contracted pulmonary tuberculosis.”

El Lissitsky

1926 - 1941, Autobiography of the artist' (1941)

Art , Time , Parting

“This is the way in which the artist has set about the construction of the world - an activity which affects every human being and carries work beyond the frontiers of comprehension. We see how its creative path took it by way of cubism to pure construction, but there was still no outlet to be found here.”

El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

World , Way

“At the time when I was working on the exhibitions I was also very active as a book artist and in photo montage (for I could carry out those assignments when my sickness obliged me remain lying down).”

El Lissitsky

1926 - 1941, Autobiography of the artist' (1941)

Books , Photo , Lying , Time

“We believe that the elements in the chemical formula of our creative work, problem, invention, and art, correspond to the challenges of our age.”

El Lissitsky

quote, p. 378
posthumous publications, El Lissitzky, El Lissitzky : Life, Letters, Texts (1967; 1980)

Age , Art , Problem

“Then I can see that I'm with you [in Dresden] at the end of April - beginning of May. Then I'll also paint with you the few works which are desired of me, if you'll help me - because I have already forgotten how to paint.”

El Lissitsky

Quote in a letter to his wife Sophie Küppers (February 1926):' (letter 8-2-1926, Lissitzky-Küppers), Archive van Abbemuseum, Eindhoven, 1990
1926 - 1941

Help , Painting

“[I] Went to Germany to study there and graduated from the architecture faculty in Darmstadt in 1914. I studied art during my trips through Europe; went to Paris. In the summer of 1912 I traveled more than 1200 km in Italy on foot, learning and drawing. In 1912 my works were accepted for the first time at the large exhibition in Petersburg. From 1915 in I lived in Moscow, exhibiting each year.”

El Lissitsky

1926 - 1941, Autobiography of the artist' (1941)

Art , Travel , Study , Learning

“Let us summarize these three points more concisely:
(a) The rejection of art as a mere emotional, individualistic, and romantic affair.
(b) 'Objective' work, undertaken with the silent hope that the end product will nevertheless eventually be regarded as a work of art.
(c) Consciously goal-directed work in architecture, which will have a concise artistic effect on the basis of well-preparated objective-scientific criteria.
Such an architecture will actively raise the general standard of living. This represents the dialectic of our development process, which purports to arrive at the affirmative by negation — a process similar to melting down old iron and forging it into new steel.”

El Lissitsky

Quotes from: 'Ideological Superstructure'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

Hope , Art