DOCSLIB.ORG

El Lissitzky

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
El Lissitzky GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM 1 / 36 1890–1941 El Lissitzky Lissitzky was an important figure of the Russian Avant Garde, designing numerous exhibition displays and propaganda works for the Soviet Union. © Kevin Woodland, 2019 El Lissitzky, The Contructor (Self Portrait), Circa 1919 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 2 / 36 1890–1941 El Lissitzky His work spanned the media of graphic design, typography, photography, photomontage, book design, and architecture 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). WIKIPEDIA © Kevin Woodland, 2019 Josef Albers, El Lissitzky, 1928 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 3 / 36 1890–1941 El Lissitzky He identified the graphic arts, particularly posters, books, and architecture as effective conduits for reaching the public. Once the printed page started to seduce the artist, painting slowly died. – EL LISSITZKY © Kevin Woodland, 2019 El Lissitzky, Architecture at Vkhutemas, book cover, 1927 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 4 / 36 1920’S Book Design The book is becoming the most monumental work of art: no longer is it something caressed only by the delicate hands of a few bibliophiles; on the contrary, it is already being grasped by hundreds of thousands of poor people. – EL LISSITZKY © Kevin Woodland, 2019 El Lissitzky, Broom Magazine, 1923 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 5 / 36 © Kevin Woodland, 2019 El Lissitzky, Broom Magazine, 1923 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 6 / 36 © Kevin Woodland, 2019 El Lissitzky, Cover for Veshch magazine, 1922. GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 7 / 36 © Kevin Woodland, 2019 El Lissitzky, For the Voice, poetry book by Vladimir Mayakovski, 1923. GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 8 / 36 1890–1941 El Lissitzky • Lazar Markovich Lissitzky • Pochinok, Russia (Jewish-populated community in the western region) • Spent childhood in Vitebsk (also Marc Chagall’s hometown) • Lives for ten years stay with his grandparents in Smolensk during high school years • Began his career illustrating Yiddish children’s books in an effort to promote Jewish culture in Russia • Paints “Had Gadya,” a traditional Jewish song, in honor of his culture • Studies under Yehuda Pen, a local Jewish artist, at age 13 © Kevin Woodland, 2019 Lazar Markovich Lissitzky, Had Gadya (The Tale of a Goat), 1919. GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 9 / 36 1890–1941 Yehuda Pen Paints with traditional Russian artist, Yehuda Pen © Kevin Woodland, 2019 Yehuda Pen, paintings circa 1915 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 10 / 36 © Kevin Woodland, 2019 El Lissitzky, Four Teyashim (Four Billygoats) by Ben Zion Raskin, 1919. GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 11 / 36 1890–1941 UNOVIS • Attends Vitebsk Art School • Paints with Malevich • Becomes part of UNOVIS in 1919 • “Utverditeli Novovo Iskusstva” • “The Champions of the New Art” © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 12 / 36 © Kevin Woodland, 2019 A group photo of the students and professors of the UNOVIS group (with Malevich in the center), 1920 in Vitebsk, Russia. GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 13 / 36 © Kevin Woodland, 2019 A group photo of the students and professors of the UNOVIS group (with Malevich in the center), 1920 in Vitebsk, Russia. GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 14 / 36 © Kevin Woodland, 2019 Boris Zvorykin, The Struggle of the Red Knight with the Dark Force, 1919 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 15 / 36 © Kevin Woodland, 2019 (left) Boris Zvorykin, The Struggle of the Red Knight with the Dark Force, 1919. (right) El Lissitzky, Beat the Whites with the Red Wedge, 1919. GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 16 / 36 1920 PROUN • Begins his own revolutionary artistic ideology • Exists at “the station where one changes from painting to architecture” • “proekt utverzhdenya novogo” • “Design for the affirmation of the new” © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 17 / 36 1920 PROUN In these works, the basic elements of architecture — volume, mass, color, space and rhythm — were subjected to a fresh formulation in relation to the new suprematist ideals. WIKIPEDIA © Kevin Woodland, 2019 El Lissitzky, Proun 4B, 1919–1920. GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 18 / 36 1920 PROUN It was his goal “to create three- dimensional environments in which two-dimensional shapes could exist in direct contrast to the space they inhabited. THEARTSTORY.ORG © Kevin Woodland, 2019 El Lissitzky, Proun 2C, 1920 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 19 / 36 1920 PROUN The space must be a kind of showcase, a stage, on which the pictures make their appearance as actors in a drama (or comedy). It should not imitate a living space. EL LISSITZKY © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 20 / 36 1920 PROUN Through his Prouns, utopian models for a new and better world were developed. WIKIPEDIA © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 21 / 36 © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 22 / 36 © Kevin Woodland, 2019 Kurt Schwitters and El Lissitzky, Mertz 8 & 9, 1924. GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 23 / 36 1922 About Two Squares Through his inventive children’s book About Two Squares: A Suprematist Tale in Six Constructions he sought to familiarize the young generation with the revolutionary language of Suprematism and abstract art. IMJ.ORG © Kevin Woodland, 2019 El Lissitzky, About Two Squares: A Suprematist Tale in Six Constructions, 1922 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 24 / 36 Don’t read this book. Take paper. Fold rods. Color in blocks of wood. Build… © Kevin Woodland, 2019 El Lissitzky, About Two Squares: A Suprematist Tale in Six Constructions, 1922 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 25 / 36 ① here ARE two squares © Kevin Woodland, 2019 El Lissitzky, About Two Squares: A Suprematist Tale in Six Constructions, 1922 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 26 / 36 ② flying toward the Earth from far away © Kevin Woodland, 2019 El Lissitzky, About Two Squares: A Suprematist Tale in Six Constructions, 1922 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 27 / 36 ③ and see the black restlessly © Kevin Woodland, 2019 El Lissitzky, About Two Squares: A Suprematist Tale in Six Constructions, 1922 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 28 / 36 ④ craSH — scattering every- where © Kevin Woodland, 2019 El Lissitzky, About Two Squares: A Suprematist Tale in Six Constructions, 1922 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 29 / 36 ⑤ and upon the black the Red establishes itself clearly © Kevin Woodland, 2019 El Lissitzky, About Two Squares: A Suprematist Tale in Six Constructions, 1922 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 30 / 36 ⑥ So it ends, further on It was not enough that the black square had wiped out all reference to the past. One must be the red square as well, asserted Lissitzky, and actively build the future. – THE CHARNEL HOUSE © Kevin Woodland, 2019 El Lissitzky, About Two Squares: A Suprematist Tale in Six Constructions, 1922 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 31 / 36 1923 – 1925 Architecture • Non-hierarchical architecture • Unlike skyscrapers of the capitalist West • Lissitzky designs “horizontal skyscrapers” • Thoroughly imagined yet mostly unbuilt © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 32 / 36 © Kevin Woodland, 2019 El Lissitzky, Wolkenbügel (Cloud Irons), 1924 GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 33 / 36 © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 34 / 36 1928 Ogonyok Print Shop • Lissitzky’s sole tangible work of architecture • Commissioned in 1928 by Ogonyok magazine to be used as a print shop • Left abandoned for many years • Damaged by fire, 2008 © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 35 / 36 1890–1941 El Lissitzky • Pneumonia October 1923 • Pulmonary tuberculosis February 1924 • “tuberculosis devoured his lungs” © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / CONSTRUCTIVISM / EL LissitZky 36 / 36 1941 El Lissitzky Produce more tanks, Anti-tank guns and weapons, Planes, artillery and mortars, Shells, machine guns, rifles! Anything for the front! Anything for victory! © Kevin Woodland, 2019 El Lissitzky, Anything for the Front, 1941..
Load more

Recommended publications
  • El Lissitzky, Made a Career of Utilizing Art for Social and Political Change
    "The space must be a kind of showcase, a stage, on which the pictures make their appearance as actors in a drama (or comedy). It should not imitate a living space." SYNOPSIS Russian avant-garde artist El Lissitzky, made a career of utilizing art for social and political change. Although often highly abstract and theoretical, Lissitzky's work was able speak to the prevailing political discourse of his native Russia, and then the nascent Soviet Union. Following Kazimir Malevich in the Suprematist idiom, Lissitzky used color and basic shapes to make strong political statements. Lissitzky also challenged conventions concerning art, and his Proun series of two-dimensional Suprematist paintings sought to combine architecture and three-dimensional space with traditional, albeit abstract, two- dimensional imagery. A teacher for much of his career and ever an innovator, Lissitzky's work spanned the media of graphic design, © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org typography, photography, photomontage, book design, and architectural design. The work of this cerebral artist was a force of change, deeply influencing movements and related figures such as De Stijl and the Bauhaus. KEY IDEAS Lissitzky believed that art and life could mesh and that the former could deeply affect the latter. He identified the graphic arts, particularly posters and books, and architecture as effective conduits for reaching the public. Consequently, his designs, whether for graphic productions or buildings, were often unfiltered political messages. Despite being comprised of rudimentary shapes and colors, a poster by Lissitzky could make a strong statement for political change and a building could evoke ideas of communality and egalitarianism.
    [Show full text]
  • Litvak Art in the Context of the Ecole De Paris ANTANAS ANDRIJAUSKAS
    Litvak Art in the Context of the Ecole de Paris ANTANAS ANDRIJAUSKAS Introduction Some studies, like this one, begin as fragmentary thoughts recorded on various occasions: they are born naturally and imperceptibly when the time is right. In my childhood, while wandering with a fishing pole outside Veisiejai near Lake Ančia, I slipped, and my feet disturbed a thick layer of moss under which was buried a dark stone with strange characters in an unknown language. My elders later told me that these were vestiges of the Lithuanian Jewish culture that had once existed here. That was my first contact with the culture of Lith- uanian Jews, the Litvaks. I learned that before World War II, in Veisiejai, a small town in Dzūkija, there had been a large Jewish community. The inventor of Esperanto, L. L. Zamenhof, had also lived here. When I moved there with my parents after the war, at the age of six, there were no Litvaks left in this town. The entire community was mercilessly annihilated. Much later, in my travels, I continued to encounter, in various contexts, manifestations of Litvak culture - works in Parisian exhibition halls and galleries with the names of Jew- ish Litvak artists who represented the third generation resid- ing abroad. Next to their names I often saw the words litvak or juif d'origine lituanicnne. It greatly intrigued me that in Paris so many people identified themselves with - and had roots in - ANTANAS ANDRIJAUSKAS is Head of the Department of Compara- tive Cultural Studies at the Institute for Culture, Philosophy, and Art, and President of the Lithuanian Aesthetic Association.
    [Show full text]
  • De Khardzhiev-Collectiestedelijk Museum Amsterdamrussische Avant-Garde
    De Khardzhiev- collectie Stedelijk Museumavant-garde AmsterdamRussische Geurt Imanse nai010 uitgevers Frank van Lamoen Mikhail Fedorovich Larionov 1881 Tiraspol – 1964 Parijs Hoewel Khardzhiev in zijn collectie van Kazimir Malevich de kunst, 1899–1904). Zijn schilderkunst op dat moment is een Ondertussen was zijn werk, veelal samen met dat van 1 In de woorden van George Costakis, zoals geciteerd door, meeste werken had, was deze voor hem toch niet de belang- mengvorm van de stijl van de Mir iskusstva-schilders (genre- Goncharova, in 1912 en 1913 te zien op tentoonstellingen Gennadi Aigi, Khardzhievs oud- rijkste kunstenaar. Dat was Mikhail Larionov. ‘We weten taferelen) en een voor Rusland innovatief impressionisme in München, Berlijn en Londen. collega in het Mayakovsky Museum. Zie Aigi 2002, p. 46. 202 natuurlijk dat Malevich heel veel betekent voor Khardzhiev, (stadslandschappen en natuurstudies).5 Met Diaghilev en 203 Toch was het juist vanwege de elementen van Russische 2 Vrubel-Golubkina 2002, p. 30. maar we weten ook dat hij Larionov gewoon adoreert. Hij is zo de Mir iskusstva-schilders Leon Bakst (1866–1924) en Pavel volkskunst in het neoprimitivistische werk van Larionov en 3 Aigi 2002, p. 46. dol op hem dat het lijkt alsof hij met hem naar bed zou willen.’1 Kuznetsov (1878–1968) bezocht hij in 1906 Parijs voor de door Goncharova dat Diaghilev hen in 1914 uitnodigde de decors en 4 Rakitin 2002, p. 72. Dat Larionov qua aantal werken in Khardzhievs collectie een Diaghilev georganiseerde grote Russische inzending voor de kostuums voor uitvoeringen van de ballet-opera Le Coq d’Or 5 Marcadé 2004, p.
    [Show full text]
  • Chagall's Prayer Desk
    STUDIA ROSENTHALIANAA PAROKHET 37 (2004) AS A PICTURE: CHAGALL'S TABLE DES PRIERES (1908-1909) 193 A Parokhet as a Picture: Chagall’s Prayer Desk (1908-1909)1 MIRJAM RAJNER LITTLE-KNOWN PAINTING BY Marc Chagall usually referred to as the A Prayer Desk and dated 1909 shows a Torah Ark curtain or parokhet hung above a low narrow table (fig. 1). Franz Meyer suggested that this work was painted in a private home in Narva, a small town on the Bal- tic coast where Chagall used to visit a wealthy Jewish family of industri- alists, the Germonts. They were his patron, the lawyer Grigory A. Goldberg’s in-laws, and as an art student studying in St Petersburg, Chagall often spent his vacations at their home.2 Meyer describes the painting as ‘the paraphernalia used in the [Germont] family devotions’.3 This would have been an unusual practice for a Jewish family. For a service to include a reading from the Torah, a quorum of ten men (a minyan) must be present. This makes it a communal ceremony, in con- trast to the private devotions practised among aristocratic Christian families with chapels attached to their homes. Moreover, the parokhet in Chagall’s painting hangs flat against the wall rather than covering an Ark containing a Torah scroll, which is its function, and which would require much greater depth. Chagall depicted similar synagogue furnishings in his 1917 work The Synagogue (fig. 2) in which the Ark is covered by a parokhet deco- 1. This article is a variation on my PhD thesis ‘Marc Chagall (1906-1910)’ (The Hebrew University of Jerusalem, 2004), supervised by Prof.
    [Show full text]
  • 1 Chagall, Lissitzky, Malevich: the Russian Avant-Garde in Vitebsk
    1 Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918-1922 The Jewish Museum September 14, 2018-January 6, 2019 Wall Texts and Object Labels Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918–1922, is organized by the Centre Pompidou, Paris, in collaboration with the Jewish Museum, New York. Angela Lampe Curator of Modern Collections, Musée National d’Art Moderne Exhibition Curator Claudia J. Nahson Morris and Eva Feld Curator Supervising Curator for the Jewish Museum DONORS TO THE EXHIBITION The exhibition is supported through the Samuel Brandt Fund, the David Berg Foundation, the Robert Lehman Foundation, the Centennial Fund, and the Peter Jay Sharp Exhibition Fund. The publication is made possible, in part, by The Malevich Society. Nonflash, noncommercial photography for personal use is permitted in this exhibition except where the following symbol appears: #ChagallLissitzkyMalevich Exhibition design: Leslie Gill Architect Graphic design: Topos Graphics Lighting: Clint R. Coller Intern: Paulina Fedotova Research Assistant: Ori Hashmonay The companion volume to the exhibition is on sale in the Cooper Shop in the museum’s lobby. -- 2 Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918–1922 Introduction “I found myself in Vitebsk when the great celebrations of the October Revolution were over, but the city was still resplendent with Malevich’s designs—circles, squares, dots, and lines of different colors—and with Chagall’s flying people. I had the impression of being in an enchanted city, but in those days everything was wonderful, and everything was possible, and at that moment the people of Vitebsk had become Suprematists.” Sofia Dymshits-Tolstaia, 1921 This is the first major exhibition to explore a littleknown chapter in the history of the Russian avant-garde: Marc Chagall’s encounter with the leading figures of abstraction, El (Lazar) Lissitzky and Kazimir Malevich, at the time of the Russian Revolution.
    [Show full text]
  • Marc Chagall and the Jewish Theater
    Marc Chagall and the Je>vish Theater GUGGENHEIM MUSEUM Digitized by the Internet Arciiive in 2012 witii funding from IVIetropolitan New York Library Council - METRO http://archive.org/details/chagalljOOchag Marc Chagall and the Jevs^ish Theater Marc Chagall and the JevN^ish Theater GUGGENHEIM MUSEUM ©The Solomon R. Guggenheim Foundation, Marc Chagall and the Je>vish Theater New York, 1992 Solomon R. Guggenheim Museum All rights reserved September 23, 1992-January 17, 1993 Reproductions of cat. nos. 1-7 The Art Institute of Chicago © State Tret'iakov Gallery, Moscow January 30-May 7, 1993 ISBN: 0-89207-099-4 This exhibition has been sponsored, in part, by Published by the Guggenheim Museum Lufthansa German Airlines. 1071 Fifth Avenue New York, New York 10128 Lufthansa Prmted m the United States by Thorner Press Additional support has been provided by Front cover: The Helena Rubinstein Foundation. Marc Chagall, M/isk, 1920 Tempera and gouache on canvas 212.4 ^ I03-5 cm (83 V« X 40 V4 inches) State Tret'iakov Gallery, Moscow Back cover: Marc Chagall, Loi'e on the Stage. 1920 Tempera and gouache on canvas 284.2 X 249.6 cm (in 7s x 98 'A inches) State Tret'iakov Gallery, Moscow Frontispiece: Emblem of the Jewish Chamber Theater, taken from a 1919 poster printed in Petrograd. Color photography: Cat. nos. 1-7, from State Tret'iakov Gallery, Moscow; nos. I, 2 photo H. Preisig; no. 3 courtesy Fondation Pierre Gianadda; nos. 4-7 photographed by Lee Ewing. Cat. nos. 8, 9, 11, 14, from Musee national d'art moderne.
    [Show full text]
  • Let My People Know Limmud FSU: the Story of Its First Decade
    Let My People Know Limmud FSU: The Story of its First Decade LET MY PEOPLE KNOW Limmud FSU: The Story of its First Decade Mordechai Haimovitch Translated and Edited by Asher Weill Limmud FSU New York/Jerusalem Copyright@Limmud FSU International Foundation, New York, 2019 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form without the prior permission of the copyright holder Editor’s Notes. Many place names in this book are interchangeable because of the various stages of historical or political control. We have usually chosen to use the spellings associated with Jewish history: eg. Kiev not Kviv; Lvov not Lviv; Kishinev not Chișinău; Vilna not Vilnius, etc. Every attempt had been made to trace the source of the photographs in the book. Any corrections received will be made in future editions. Limmud FSU International Foundation 80, Central Park West New York, NY 10023 www.Limmudfsu.org This book has been published and produced by Weill Publishers, Jerusalem, on behalf of Limmud FSU International Foundation. ISBN 978-965-7405-03-1 Designed and printed by Yuval Tal, Ltd., Jerusalem Printed in Israel, 2019 CONTENTS Foreword - Natan Sharansky 9 Introduction 13 PART ONE: BACK IN THE USSR 1. A Spark is Kindled 21 2. Moscow: Eight Years On 43 3. The Volunteering Spirit 48 4. The Russians Jews Take Off 56 5. Keeping Faith in the Gulag 62 6. Cosmonauts Over the Skies of Beersheba 66 7. The Tsarina of a Cosmetics Empire 70 PART TWO: PART ONE: BACK IN THE USSR 8.
    [Show full text]
  • Marc Chagall Was Born in 1887 to a Poor Jewish Family in Russia
    Marc Chagall was born in 1887 to a poor Jewish family in Russia. He was the eldest of nine children. Chagall began to display his artistic talent while studying at a secular Russian school, and despite his father’s disapproval, in 1907 he began studying art with Leon Bakst in St. Petersburg. It was at this time that his distinct style that we recognize today began to emerge. As his paintings began to center on images from his childhood, the focus that would guide his artistic motivation for the rest of his life came to fruition. In 1910, Chagall, moved to Paris for four years. It was during this period that he painted some of his most famous paintings of the Jewish village, and developed the features that became recognizable trademarks of his art. Strong and bright colors began to portray the world in a dreamlike state. Fantasy, nostalgia, and religion began to fuse together to create otherworldly images. In 1914, before the outbreak of World War I, Chagall held a one-man show in Berlin, exhibiting work dominated by Jewish images. During the war, he resided in Russia, and in 1917, endorsing the revolution, he was appointed Commissar for Fine Arts in Vitebsk and then director of the newly established Free Academy of Art. In 1922, Chagall left Russia, settling in France one year later. He lived there permanently except for the years 1941 - 1948 when, fleeing France during World War II, he resided in the United States. Chagall's horror over the Nazi rise to power is expressed in works depicting Jewish martyrs and refugees.
    [Show full text]
  • Comparative Studies 2009.Pmd
    ISSN 16915038 DAUGAVPILS UNIVERSITY FACULTY OF THE HUMANITIES INSTITUTE OF COMPARATIVE STUDIES LATGALE AS A CULTURE BORDERZONE COMPARATIVE STUDIES Vol. II (1) DAUGAVPILS UNIVERSITY ACADEMIC PRESS ìSAULEî ~ 2009 ~ Comparative Studies. Latgale as a Culture Borderzone. Vol. II (1). Daugavpils: Daugavpils University Academic Press ìSauleî, 2009. 240 p. Scientific Committee of the Issue Comparative Studies Dr. philos. Bente Aamotsbakken, Norway Dr. habil. philol. Vsevolod Bagno, Russia Dr. phil. Irina Belobrovtseva, Estonia Dr. J. Douglas Clayton, Canada Dr. habil. philol. Fjodors Fjodorovs, Latvia Dr. Rita Giuliani, Italy Dr. Véronique Jobert, France Dr. philol. Pekka Kujam‰ki, Finland Dr. hum. Mindaugas Kvietkauskas, Lithuania Dr. habil. philol. Vera V‚vere, Latvia Dr. Willem Weststeijn, the Netherlands Editorial Board of the Issue Comparative Studies. Latgale as a Culture Borderzone. Vol. II (1) Dr. habil. philol. Natalya Ananiewa, Russia Dr. philol. Tatyana Filosofova, United Kingdom Dr. habil. philol. Fjodors Fjodorovs, Latvia Dr. habil. philol. Valentin Golovin, Russia Dr. art. R˚ta Kaminska, Latvia Dr. habil. philol. JanÓna KursÓtePakule, Latvia Dr. paed. ValentÓna Liepa, Latvia Dr. human. Bronius Maskuli˚nas, Lithuania Dr. philol. Aaron Shneyer, Israel Dr. hist. Vyacheslav Shved, Belarus Dr. habil. chem, Dr. hist. h. c. J‚nis StradiÚ, Latvia Dr. philol. Vilma –audiÚa, Latvia Dr. habil. philol. Krzysztof Zajas, Poland Editorial Staff of the Issue Comparative Studies. Latgale as a Culture Borderzone. Vol. II (1) Editorinchief: ValentÓna Liepa Assistant editors: Fjodors Fjodorovs, Sandra Mekova The English language editors: Sandra Mekova, Biruta KalniÚa Proofreader: Oksana Komarova Layout: Marina StoËka ISSN 16915038 © Daugavpils University, 2009 ISBN 9789984144481 CONTENTS FOREWORD..................................................................................................... 5 HISTORY. RELIGION. CULTURE. LITERATURE Fjodors Fjodorovs (Latvia) The Spiritual Space of Latgale ...........................................................................
    [Show full text]
  • 1WTC Guide Cover-Sourcebook
    THE BOARD OF RABBIS OF SOUTHERN CALIFORNIA PRESENTS ONE PEOPLE, O NE BOOK 5769 A Transdenominational Community Learning Program Participating Conservative, Orthodox, Reconstructionist & Reform congregations Adat Ari El • Ahavat Torah • Beth Chayim Chadashim • Beth Shir Sholom • Congregation Kol Ami • Congregation Tikvat Jacob • IKAR • Leo Baeck Temple • Malibu Jewish Center & Synagogue • Pasadena Jewish Temple & Center • Sephardic Temple Tifereth Israel • Temple Aliyah • Temple Emanuel of Beverly Hills • University Synagogue Westwood Village Synagogue A SOURCEBOOK FOR THE WORLD TO COME A NOVEL BY DARA HORN Compiled and Published by The Board of Rabbis of Southern California as part of ONE PEOPLE ONE BOOK 5769 One People One Book is a citywide year of transdenominational learning produced by The Board of Rabbis of Southern California. Several hundred people from over 25 area congregations, plus unaffiliated readers, engage in a year‐long study of a significant Jewish book, connecting it with traditional texts, through community‐wide programs and smaller discussion groups. The 2008‐ 2009 program on The World to Come by Dara Horn marks the fourth season of One People One Book. General Editor: Jonathan Freund Sarah Bassin provided invaluable editorial input in the creation of this volume The Board of Rabbis of Southern California 6505 Wilshire Blvd., Los Angeles, California, 90048 323 761 8600 [email protected] www.boardofrabbis.org Copyright © The Board of Rabbis of Southern California, 2008 All rights reserved Except for limited use in educational contexts, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, digital, photocopying, recording or otherwise), without the prior written permission of the Board of Rabbis of Southern California.
    [Show full text]
  • Lasar Segall E As Vanguardas Judaicas Na Europa E No Brasil
    Lasar Segall e as vanguardas judaicas na Europa e no Brasil (in english, p. 157) CLAUDIA VALLADÃO DE MATTOS Professora de História da Arte no Instituto de Artes da Unicamp Doutorado pela Universidade Livre de Berlim Pós-doutorado pelo Courtauld Institute de Londres RESUMO A produção artística de Lasar Segall é marcada por diferentes períodos em que ele se volta intensamente à representação de temas judaicos. Porém, em cada momento, esse diálogo com a cultura judaica possui características próprias, dependendo do contexto histórico e intelectual no qual ele ocorreu. O presente artigo procura recuperar a história da relação de Segall com o judaísmo, tratando essa relação, não apenas como o fruto de uma memória afetiva, ligada à sua infância, mas igualmente como um posicionamento efetivo do artista diante dos debates em torno da cultura judaica que marcaram sua época. PALAVRAS-CHAVE Lasar Segall, vanguardas, expressionismo, judaísmo. ABSTRACT There are several moments in Lasar Segall’s artistic carrier in which he turned with more intensity to Jewish themes. In each of these moments the dialog with Jewish culture assumed different characteristics, according to the historical and intellectual context in which it occured. The present paper is an attempt to analyze the history of Lasar Segall’s relation to Judaism, treating this relation, not only as a consequence of his personal his- tory, but above all as the result of his intellectual confrontation with the important debates concerning Jewish culture that occurred in Europe at the time. KEYWORDS Lasar Segall, Avant-garde, Expressionism, Judaism. RHAA 7 83 Claudia Valladão de Mattos A relação de Lasar Segall com a cultura judaica seminal para a configuração de sua obra, tanto do é um dos grandes temas que norteiam os estudos sobre ponto de vista formal, quanto temático.
    [Show full text]
  • Lazar Khidekel& Suprematism
    LAZAR KHIDEKEL & SUPREMATISM LAZAR KHIDEKEL & SUPREMATISM Edited by Regina Khidekel Prestel Munich • London • New York In association with Modernism Inc. San Francisco CONTENTS ! Introduction Regina Khidekel "# “Research in the Plane of the Suprematist Field”: Lazar Khidekel’s Suprematism Tatiana Goriacheva $! Aero-Art, the Planetary View: Kazimir Malevich and Lazar Khidekel Charlotte Douglas #% Between Suprematist Utopia and Stalinist Reality Alla Rosenfeld &' Lazar Khidekel’s Architectural Practice: Conceptions of Suprematism and Architecture Boris Kirikov and Margarita Shtiglits (" From the Spoon to the City Constantin Boym (% Lazar Khidekel and the International Context Magdalena Dabrowski (' Plates "'( Appendix Lazar Khidekel and His Role in the Development of Suprematism: Documents from the State Institute of Artistic Culture and the State Institute of Art History Irina Karasik $)* Chronology Regina Khidekel $"& Selected Bibliography $"! Selected Exhibitions $"* Acknowledgments $$) Index INTRODUCTION Regina Khidekel HIS volume o!ers a comprehensive overview of the rich legacy of the artist, architect, de- signer, and theoretician Lazar Khidekel "#$%&–#$'(), with special attention to the enduring importance of Suprematism in his artistic and architectural oeuvre. Khidekel classified himself as an artist and architect, subsequently adding the moniker “fantasist.” The latter was in reference to one of the central features of his art and architecture: his “vision of Su- prematist structures floating in space,”* which emerged in the #$+%s while he was a member of the Vitebsk Suprematist group A!irmers of the New Art "UNOVIS), first taking the form of space stations for earthlings in works created in #$+%–+# and later inspiring projects for futuristic cities conceived in the mid-#$+%s. Khidekel was initially trained and nurtured as an artist by the best painters of the time.
    [Show full text]