RARE Russian Book. El Lissitzky. V. Mayakovsky. В. Маяковский. Для голоса 1923
Item History and Pricing
Mayakovsky V.V. For voice. Designer of the book El Lissitzky. Berlin, 1923.RSFFSR, State Publishing House. Printing house Lutze & Vogt G.M.B.H., 1923. 61 pages of Vladimir Mayakovsky and illustrations by Lazar Lisitsky. Print in two colors: black and red. Color illustrations, montage and selection of fonts, an unusual general design of the book and color publishing cover are made in the style of constructivism by El Lissitzky. Circulation 2000-3000. 18.7x12.5 cm
The collection of poems by V. Mayakovsky “For Voice” in the design of El Lissitzky was published in 1923 in Berlin, where both of them - the poet and the artist - were at that time. This is a true sample of book art performed by Lazar Lissitzky, an innovative artist, architect, master of photography. This publication is an example of Lissitzky’s original constructivist and compositional decisions and ideally combined with the rhythm of Vladimir Mayakovsky’s poetry. This book is one of the best examples of Russian constructivism in book publishing.
Маяковский, В. Для голоса / конструктор книги Эль Лисицкий. Берлин: Государственное издательство, 1923. 61 с., ил. 18,9×13,4 см. В издательской иллюстрированной обложке работы Э. Лисицкого. В современном кожаном футляре, рисунок которого повторяет оформление обложки. Небольшие загрязнения обложки и полей страниц. Состояние хорошееСборник стихов В. Маяковского «Для голоса» в оформлении Эля Лисицкого был издан в 1923 году в Берлине, где оба они — поэт и художник — находились в то время. Это настоящий образец книжного искусства в исполнении Лисицкого, новатора-художника, архитектора, мастера фотографии. Данное издание является примером оригинальных конструктивистских и композиционных решений Лисицкого и идеально сочетается с ритмикой поэзии Владимира Маяковского. Эта книга — один из лучших образцов русского конструктивизма в книгоиздании.
Маяковский В.В. Для голоса. Конструктор книги Эль Лисицкий. Берлин, 1923.Р.С.Ф.С.Р, Государственное издательство. Типография Lutze & Vogt G.M.B.H., 1923. 61 стр. стихов Владимира Маяковского и иллюстраций Лазаря Лисицкого. Печать в два цвета: черный и красный. Цветные иллюстрации, монтаж и подбор шрифтов, необычная общая конструкция книги и цветная издательская обложка выполнены в стиле конструктивизма Эль Лисицким.Тираж 2000-3000. 18,7x12,5 см.
Сборник стихов В. Маяковского «Для голоса» в оформлении Эль Лисицкого был издан в 1923 году в Берлине, где оба они - поэт и художник - находились в то время. Это настоящий образец книжного искусства в исполнении Лазаря Лисицкого, новатора-художника, архитектора, мастера фотографии. Данное издание является примером оригинальных конструктивистских и композиционных решений Лисицкого и идеально сочетается с ритмикой поэзии Владимира Маяковского. Эта книга - один из лучших образцов русского конструктивизма в книгоиздании.
Lissitzky (pseudo. El Lissitzky), Lazar Markovich (10/22/1890 - 12/30/1941), Russian architect, designer, graphic artist. In 1921-25 he lived in Germany and Switzerland. Member of Asnova and the Dutch group "Style". Developed projects of high-rise buildings, transformable furniture, methods of artistic design of the book ("Good!" V. Mayakovsky, 1927). The first steps in the art Lissitzky made under the leadership of the Vitebsk painter Yu. M. Peng (1903). After graduating from a real school in Smolensk in 1909, he studied at the architectural faculty of the Higher Technical School in Darmstadt, Germany (1909-14). In 1912 he made a trip to Paris, in 1913 traveled around Italy. After returning to Russia, after the start of the First World War, he entered the Riga Polytechnic Institute, evacuated to Moscow, to confirm the degree of architect (received it in April 1918). He worked in the architectural office in Moscow (1915-16). In 1916 he participated in the work of an ethnographic expedition that examined Jewish antiquities along the banks of the Dnieper. After the revolutions of 1917, he was an energetic leader of national cultural revival, a participant and organizer of exhibitions of professional Jewish art. Illustrated and designed in 1917-23 books in Yiddish: "Prague legend" (M., 1917), "Kozochka" (Kiev, 1919), etc .; Lisitsky's illustrations combined the style of cubofuturism and popular popular print. He worked in the Art Section of the Moscow Council of Deputies, according to his sketch the first banner of the All-Russian Central Executive Committee (1918) was executed. In 1918 he was in the service in the Department of Fine Arts Narcompros. In early 1919, after moving to Kiev, he played an important role in many undertakings of the Kiev Culture League. In May 1919, he settled in Vitebsk, led an architectural and printing graphic studio at the Folk Art School, headed by Marc Chagall. After the arrival of K. S. Malevich to Vitebsk, he became a passionate supporter of Suprematism; in 1920 adopted the artistic name "El Lissitzky." An active member of the group "Affirmative New Art" (UNOVIS), Lissitzky participated in the decorative and festive decoration of the city; together with Malevich designed the anniversary celebrations of the Vitebsk Committee on Combating Unemployment (1919). He was the author of panels and posters combining the Suprematist non-objectiveness and the propaganda orientation of the images (“Klin Red Beat the Whites”, 1919, and others). During 1920, he designed "Almanac UNOVIS No. 1", created the book "Suprematic Tale About 2 Squares" (published in Berlin, 1922), designed the figurines for the futuristic opera "Victory over the Sun", conceiving this production as an "electromechanical show" with the performers puppet (a folder with lithographed figures was published in Berlin in 1923). In Vitebsk, Lissitzky invented and developed his own version of three-dimensional suprematic compositions, which he called “prouns” (projects for approving the new). In 1919–20 he wrote a large number of picturesque ploons, some of which were converted to graphic form; Folders with lithographs of prouns were then published in Moscow (1921) and in Hannover (the so-called Kestner's Folder, 1923). The authors, according to the author, synthesized methods of Suprematism and constructivism, serving as a "transfer station from painting to architecture". In the future, the entire biography of Lissitzky, they played the role of the design stage to create a wide range of design developments: the famous horizontal skyscrapers, theatrical models, decorative-spatial installations, pavilions and exhibition interiors, new principles of photography and photomontage, poster, book, furniture design. In late 1920, the master moved to Moscow, taught at the Higher Art and Technical Studios, participated in the work of the Institute of Artistic Culture. In the autumn of 1921 he was sent to Berlin with the aim of establishing contacts with artists and culture of Western Europe; played a huge role in establishing links between the post-revolutionary Russian avant-garde and European innovators - in particular the Berlin Dadaist group, the Dutch style group and the Bauhaus. He participated in the pan-European movement of constructivism, having implemented his installations for the communicative role of design as an international language, understood outside the forms of verbal communication. In 1922, he published together with IG Ehrenburg the journal "The Thing" (in Russian, French, and German). He actively collaborated in the publication of a number of art and architectural magazines: "Broome", Berlin, 1922; "De Style", Amsterdam, 1922; "G" (with Mies van der Rohe), Berlin, 1922-1923; Merz (with Kurt Schwitters), Berlin, 1923-1924; ABC (jointly with M. Stam), Switzerland, 1925. The book Mayakovsky was published in Berlin in 1923. For Lissitzky, his methods of visual-spatial design of the book were first used by Lissitzky. In 1922–23, personal exhibitions of the artist were held in Hanover; in the framework of the Great Berlin Art Exhibition, he designed the “Proun Hall” (1923). IN 1
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