Beschreibung
In Russian. 209 x 141 mm. 64 pages. Ex library with de-accession stamp. Front cover's design by Eli Lissitzky. The volume contains 44 poems written by Kussikoff in the years between 1917 and 1922. Art paper cover illustrated by El Lissitzky in black and sliver-gray Constructivist style. The author was a member of the poetic Orden imazhinistov; left Russia in 1922. The publisher. Scythen, was a Russian in exile, who published contemporary Russian poetry in Berlin. Not listed in Sophie Lissitzky-Küppers' "El Lissitzky: Life, Letters, Texts" published in (1967). Sophie was Lissitzky's second wife. The work is number 406, with illustration on page 197 in "The Russian Avant Garde Book, 1910-1934" by Deborah Wye and Margit Rowell. Bowlt / Hernad 53 with illustration - Long, constructivism and book art 46 (with illustration). This was Nahum Baruch Minkoff's copy. Minkoff (1893 Warsaw - 1958 New York) was a Yiddish poet, critic, literary historian, editor of the Yiddish literary monthly Tsukunft, etc. Lazar Markovich Lissitzky November 23 [O.S. November 11] 1890 - December 30, 1941), known as El Lissitzky was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design. Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish ?rigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia. When only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works - a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre. Lissitzky was born in Pochinok, a small Jewish community 50 kilometres (31 mi) southeast of Smolensk, former Russian Empire. During his childhood, he lived and studied in the city of Vitebsk, now part of Belarus, and later spent 10 years in Smolensk living with his grandparents and attending the Smolensk Grammar School, spending summer vacations in Vitebsk. Always expressing an interest and talent in drawing, he started to receive instruction at 13 from Yehuda Pen, a local Jewish artist, and by the time he was 15 was teaching students himself. In 1909, he applied to an art academy in Saint Petersburg, but was rejected. While he passed the entrance exam and was qualified, the law under the Tsarist regime only allowed a limited number of Jewish students to attend Russian schools and universities. . . . Bestandsnummer des Verkäufers 012120
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