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Beat the Whites with the Red Wedge (Russian: Клином красным бей белых!, Klinom krasnym bey belykh!) is a 1919 lithographic Bolshevik propaganda poster by El Lissitzky. In the poster, the intrusive red wedge symbolizes the Bolsheviks, who are penetrating and defeating their opponents, the White movement, during the Russian ...
Lissitzky was born on 23 November 1890 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. [3]
UNOVIS. UNOVIS (Russian: УНОВИС, also known as MOLPOSNOVIS and POSNOVIS) was a short-lived but influential group of artists, founded and led by Russian painter Kazimir Malevich at the Vitebsk Art School in 1919. Initially formed by students and known as MOLPOSNOVIS, the group formed to explore and develop new theories and concepts in art.
The Proun designs, however, were also an artistic break from Suprematism; the Black Square by Malevich was the end point of a rigorous thought process that required new structural design work to follow. Lissitzky saw this new beginning in his Proun constructions, where the term "Proun" (Pro Unovis) symbolized its Suprematist origins.
Bois is a professor emeritus at the School of Historical Studies at the Institute for Advanced Study in Princeton, New Jersey, in the chair inaugurated by Erwin Panofsky, [1] and at the European Graduate School. From 1991 to 2005, he served on the faculty at Harvard University as Joseph Pulitzer Jr. Professor in Modern Art, [2] after teaching ...
The print shop designed by El Lissitzky, showing the least damaged south end of the building The building from a different angle. The Printing plant of Ogonyok magazine in Moscow, designed by El Lissitzky, is likely the only extant building based on Lissitzky's blueprints. Located at 17, 1st Samotechny Lane, it is Lissitzky's sole tangible work ...
Ilya Golosov, Zuev Club, 1926. The Russian avant-garde was a large, influential wave of avant-garde modern art that flourished in the Russian Empire and the Soviet Union, approximately from 1890 to 1930—although some have placed its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related ...
This work was never published prior to January 1, 2003, and is currently in the public domain in the United States because it meets one of the following conditions:. its author died before 1954;