“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)

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "Let us summarize these three points more concisely: (a) The rejection of art as a mere emotional, individualistic, and…" by El Lissitsky?
El Lissitsky photo
El Lissitsky43
Soviet artist, designer, photographer, teacher, typographer… 1890–1941

Related quotes

R. G. Collingwood photo

“The word art has in ordinary usage three senses. First, it means the creation of objects or the pursuit of activities called works of art, by people called artists; these works being distinguished from other objects and acts not merely as human products, but as products intended to be beautiful. Secondly, it means the creation of objects or the pursuit of activities called artificial as opposed to natural; that is to say objects created or activities pursued by human beings consciously free to control their natural impulses and to organize their life in a plan. Thirdly, it means that frame of mind which we call artistic, the frame of mind in which we are aware of beauty.”

R. G. Collingwood (1889–1943) British historian and philosopher

Source: Outlines of a Philosophy of Art, 1925, p. 7

Daniel Buren photo

“Every place radically imbues (formally, architecturally, sociologically, politically) with its meaning the object (work creation) shown there. Art in general refuses to be implied a priori and so pretends to ignore or reject the draconian role imposed by the museum (the gallery), a role both cultural and architectural. To reveal this limit (this role), the object presented and its place of display must dialectically imply one another”

Daniel Buren (1938) sculptor from France

Daniel Buren (1975), in: Studio International. Vol. 189-190, (1975), p. 124
1970s

Kazimir Malevich photo

“Painting has turned back from the non-objective way to the object, and the development of painting has returned to the figurative part of the way that had led to the destruction of the object. But on the way back, painting came across a new object that the proletarian revolution had brought to the fore and which had to be given form, which means that it had to be raised to the level of a work of art... I am utterly convinced that if you keep to the way of Constructivism, where you are now firmly stuck, which raises not one artistic issue except for pure utilitarianism and in theater simple agitation, which may be one hundred percent consistent ideologically but is completely castrated as regards artistic problems, and forfeits half its value... If you go on as you are.... then Stanislavski will emerge as the winner in the theater and the old forms will survive. And as to architecture, if the architects do not produce artistic architecture, the Greco-Roman style of Zyeltovski will prevail, together with the Repin style in painting..”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich from his letter 8 April 1932, to Meyerhold, in 'Two Letters to Meyerhold', in Kunst & Museumjournaal 6, (1990), pp. 9-10; as quoted by Paul Wood in The great Utopia, - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 24 – note 112
This quote clarifies Malevich's famous return to the figuration of the Russian peasant life, in the time of forced collectivization of Russian agriculture: 'for him [= Malevich] the return to figuration was not a break with the Revolution but a way of safeguarding it and preventing the return of Classicism and Naturalism' (Paul Wood in The great Utopia; Guggenheim Museum, New York, 1992, p. 24 – note 112)
1931 - 1935

Howard S. Becker photo

“(Art worlds) consist of all the people whose activities are necessary to the production of the characteristic works which that world, and perhaps others as well, define as art.”

Howard S. Becker (1928) American sociologist

Source: Art Worlds (1982), p. 34.

Sadik Kaceli photo

“English: For his high level of work, a contribute for the Albanian art and for preparing the new generation of artists.”

Sadik Kaceli (1914–2000) Albanian artist

Për nivel të lartë në krijimtari, një kontribut në shquar në artet figurative Shqiptare dhe një ndihmë të pakursyer në përgatitjen e brezave të artistëve të rinj.
Sali Berisha, President of Albania (22-03-1994)

Walter Gropius photo

“The ultimate goal of all visual artistic activity is construction! Architects, painters and sculptors must learn again to know and understand the multi-faceted form of building in its entirety as well as its parts. Only then will they of their own accord fill their works with the architectonic spirit they have lost in the art of the salon. Let us establish a new guild of craftsmen without the presumption of class distinctions building a wall of arrogance between craftsmen and artists. Together let us call for, devise and create the construction of the future, comprising everything in one form: architecture, sculpture and painting.”

Walter Gropius (1883–1969) German architect (1883-1969) and founder of the Bauhaus School

Manifesto (1919)

William Burges photo

“We have no architecture to work from at all; indeed, we have not even settled the point de depart… our art… is domestic, and… the best way of advancing its progress is to do our best in our own houses… if we once manage to obtain a large amount of art and colour in our sitting-rooms… the improvement may gradually extend to our costume, and perhaps eventually to the architecture of our houses.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 91-92; Cited in: "William Burges 1827-1881 London Architect" in: In Pursuit of Beauty: Americans and the Aesthetic Movement http://books.google.com/books?id=56F8Qv96FzwC&pg=PA406. Metropolitan Museum of Art, 1 jan. 1986. p. 405

Howard S. Becker photo

“All artistic work, like all human activity, involves the joint activity of a number, often a large number of people. Through their cooperation, the art work we eventually see or hear comes to be and continues to be. The work always shows signs of that cooperation.”

Howard S. Becker (1928) American sociologist

Source: Art Worlds (1982), p. 1.

Joshua Reynolds photo

“The art of seeing Nature, or in other words, the art of using Models, is in reality the great object, the point to which all our studies are directed.”

Joshua Reynolds (1723–1792) English painter, specialising in portraits

Discourse no. 12; vol. 2, p. 104.
Discourses on Art

Grady Booch photo

“The development of the Model Driven Architecture (MDA) standards by the Object Management Group”

Grady Booch (1955) American software engineer

OMG
The Limits of Software

Related topics