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El Markovič Lisickij citáty
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Eľ Lisickij , vlastným menom Lazar Markovič Lisickij , pôvodným menom Lazar Morduchovič Lisickij bol ruský maliar a architekt, jeden z predstaviteľov ruského konštruktivizmu. Wikipedia  

✵ 10. november 1890 – 30. december 1941
El Markovič Lisickij fotka
El Markovič Lisickij: 43   citátov 0   Páči sa

El Markovič Lisickij: Citáty v angličtine

“The term A[rt] resembles a chemist's graduated glass. Each age contributes its own quantity: for example, 5 grams of the perfume 'Coty' to tickle the nostrils of the fine gentry. Or another example, 10 cc of sulfuric acid to be thrown into the face of the ruling classes. Or, 15 cc: of some kind of metallic solution that later changes into a new source of light.... [as Lissitzky goes on to say] This A[rt] is an invention of the mind, i. e. a complex, where rationality is fused with imagination.”

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El Lissitsky

Quote of El Lissitzky, 1925, from his text: 'A. and Pangeometry', in Architecture for World Revolution; trans. Paul Filotas et al. (London: Thames and Hudson, 1988) p. 17
1915 - 1925

“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.”

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El Lissitsky

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

“PROUN alters the conventional forms of the arts and leaves behind the image of the petty individualist, who locked himself in his office and hid seated before a drawing easel, starting one picture and finishing another.
The future life — this is the reinforced concrete slab for the communist foundation of the nations of the entire world. With the aid of the PROUN one can build a unified city-commune on that foundation, intended for the life of all mankind.”

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El Lissitsky

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

“We analyzed the first stage of our construction, confined to two-dimensional space, and found it to be as durable and resistant as the earth itself. We build in this space just as we would on the ground, and therefore must take as our point of departure the concepts of gravity and force of attraction, as the foundation of everything built on the land. In PROUN the reciprocity of the effects of gravity [Newton, 'for every action an equal and opposite reaction'] manifests itself in a new capacity. We see that on the surface (plane) of the picture, the PROUN ceases to exist as such and becomes a building surveyed from every direction — considered from above or examined from below. The result of this turns out to be the destruction of the single axis that leads to the horizon.”

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El Lissitsky

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

“At present we are living through an unusual period in time a new cosmic creation has become reality in the world, a creativity within ourselves which pervades our consciousness.... in this way the artist became the foundation on which progress in the reconstruction of life could advance beyond the frontiers of the all-seeing eye and the all-hearing ear. Thus a picture was no longer an anecdote nor a lyric poem nor a lecture on morality nor a feast for the eye but a sign and symbol of this new conception of the world which comes from within us.”

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El Lissitsky

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

“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).”

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El Lissitsky

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

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

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El Lissitsky

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

“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.”

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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

“New space neither needs nor demands pictures - it is not a picture transposed on a surface. This explains the painters' hostility towards us [a. o.: Malevich ]: we are destroying the wall as the resting place for their pictures.”

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El Lissitsky

critical quote of Lissitzky c. 1923, in Proun Space - in An Architecture for World Revolution, El Lissitzky; translation Eric Dluhosch; Lund Humphries, London: 1970, p. 138
1915 - 1925

“For us [the young artists in Vitebsk, before 1920] Suprematism did not signify the recognition of an absolute form which was part of an already completed universal system, on the contrary; here stood revealed for the first time in all its purity the clear sign and plan for a definite new world never before experienced - a world which issues forth from our inner being and which is only now in the first stages of its formation, for this reason the square [ Malevich's Black and Red Square ] of suprematism became a beacon.”

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El Lissitsky

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

“[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.”

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El Lissitsky

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

“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.”

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El Lissitsky

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

“This is the model we await from Kasimir Malevich. AFTER THE OLD TESTAMENT THERE CAME THE NEW AFTER THE NEW THE COMMUNIST AND AFTER THE COMMUNIST THERE FOLLOWS FINALLY THE TESTAMENT OF SUPREMATISM.”

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El Lissitsky

But in this text postponed in a far wider concept than Malevich meant his Suprematism
1915 - 1925, Suprematism' in World Reconstruction (1920)