Description
The work "Illustration of 'For La Voz' by Vladimir Mayakovsky - 1920" of El Lissitzky is a vibrant manifestation of Russian constructivism, an artistic current characterized by its approach to the functionality and integration of art with technology and industry. In this particular illustration, the Lissitzky strips the visual representation of every human figure, finding its strength in geometry and in the dynamic relationship between shapes and colors.
The work consists of carefully arranged frames and color blocks in a predominantly white background. The black and red lines, reinforced by the constant use of the right angle and the diagonal, fulfill a mechanical function, leading the viewer's gaze through the composition with almost mathematical precision. It is essential to understand that this work is part of a series of illustrations specifically designed for the book written by Vladimir Mayakovsky, "for the voice" (??????), which is not only a collection of poems but also a Radical typographic artifact for its time.
The red color, omnipresent in the work of El Lissitzky, has been manifested here especially to create a contrast with black shapes and white background. This chromatic choice is not merely aesthetic; Red and black become eloquent symbols of the revolution and the social struggle that both Mayakovsky and Lissitzky defended with ardor. The colors are distributed in shapes that, although abstract, suggest an emotional architecture, a space loaded with meaning that resonates with the words of the poet.
However, it is in the composition that Lissitzky reveals its technical domain. Each element seems in tension with the other, but follows an internal logic that marks the constructivist spirit: symmetry and asymmetry are balanced in a visual dance that invites interaction. It is not a passive two -dimensionality, but an invitation to the reader/spectator to track his view throughout the shapes, explore the page with the same energy with which one would read the poems out loud. Lissitzky, in line with his contemporary and colleague Kazimir Malévich, challenges the viewer here to a new way of seeing and understanding the work of art as a dynamic and functional object.
The Lissitzky, beyond being a painter, was an architect, graphic designer and typographer, and this is reflected in his ability to transform a blank page in a three -dimensional space full of movement. His engineering training contributed to his analytical approach to art, combining science and creativity in new visual forms that transcended the established limits of his time.
Illustrations like this not only redefine the art of book, making it more interactive and significant, but also underline the deep collaboration between artists and writers of the Russian avant -garde. In "Illustration of 'For La Voz' by Vladimir Mayakovsky - 1920," The Lissitzky not only illustrates; It translates the vibrant orality of Mayakovsky's poetry into visual forms that resonate with their energy.
In conclusion, this work is a testimony of the transforming power of constructivist and typographic art of the Lissitzky, a piece that continues to inspire and challenge contemporary perceptions about the interaction between text and image, art and function. Through its visual instrument, Lissitzky summons us to rediscover the voice of the revolution, channeled through the pages and shapes of its incomparable modernist vision.
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