Synonyms for lissitzky or Related words with lissitzky

lissitsky              anatsui              shaarawy              qalqili              khadraoui              kholti              ouafi              jeiroudi              eternauta              hibri              fonoll              atazar              hacedor              economista              katatney              sleezo              periquillo              gygytgyn              pasoan              yizre              hosaini              meswy              fassed              dabh              argar              nahhas              quartelejo              jadeyaoui              khodary              ahrairah              aissami              kafrawy              informador              erian              naschie              ojeili              chamsy              brocense              ajedrecista              adawy              teneen              aaiun              immanu              moudjahid              harrachi              vernona              glaoui              harrouch              fakiri              chantiry             

Examples of "lissitzky"
Senkin was involved with El Lissitzky providing the freize for the "Pressa" exhibition in Cologne 1928.
The cover art is an abstract painting by El Lissitzky called "Abstract Cabinet" (1927).
The most famous native of Pochinok is the artist and designer El Lissitzky.
"Gruppa krovi" album's cover is reminiscent of post-war Russian avant-garde art of artists such as El Lissitzky.
Lissitzky exhibited in Berlin in 1923 at the Hanover and Dresden showrooms of Non-Objective Art. During this trip to the West, El Lissitzky was in close contact with Theo van Doesburg, forming a bridge between Suprematism and De Stijl and the Bauhaus.
Lissitzky argued that as long as humans cannot fly, moving horizontally is natural and moving vertically is not. Thus, where there is not sufficient land for construction, a new plane created in the air at medium altitude should be preferred to an American-style tower. These buildings, according to Lissitzky, also provided superior insulation and ventilation for their inhabitants.
Klutsis is one of four artists with a claim to having invented the subgenre of political photo montage in 1918 (along with the German Dadaists Hannah Höch and Raoul Hausmann, and the Russian El Lissitzky). He worked alongside Lissitzky on the "Pressa" International exhibition in Cologne.
In 1928 Vadim Meller participated in the International Press Exhibition "Pressa" Cologne, together with El Lissitzky, Aleksandr Tyshler and Vasyl Yermylov.
El Lissitzky was responsible for the Soviet pavilion, which received critical acclaim. He had the support of Sergei Senkin and Gustav Klutsis.
Natarevich started his artistic education in Vitebsk at the art school of Yehuda Pen, whose students included Marc Chagall, Osip Zadkine and Lazar Lissitzky.
In 1916 El Lissitzky and Ryback were given the task to make Jewish art memorials of Schtetls from Ukraine and Belarus.
Mani Leib also wrote about children. His classic, "Yingl Tsingl Khvat", was illustrated by the Russian avant-garde master, El Lissitzky.
The most important artist who took the art form and ideas developed by Malevich and popularized them abroad was the painter El Lissitzky. Lissitzky worked intensively with Suprematism particularly in the years 1919 to 1923. He was deeply impressed by Malevich's Suprematist works as he saw it as the theoretical and visual equivalent of the social upheavals taking place in Russia at the time. Suprematism, with its radicalism, was to him the creative equivalent of an entirely new form of society. Lissitzky transferred Malevich’s approach to his "Proun" constructions, which he himself described as "the station where one changes from painting to architecture". 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.
The image became popular in the West when Lissitzky moved to Germany in 1921. It is considered symbolic of the Russian Civil War in Western publications.
In 1921, after El Lissitzky left for Moscow, Khidekel and his classmate Ilya Chashnik headed the Architecture and Technical Department of the Vitebsk Art School.
Along with Gustav Klutsis, Alexander Rodchenko, El Lissitzky, and others, Telingater was a founding member of the October group, a collective of Constructivist artists formed in 1928.
In 1937, Lissitzky served as the lead decorator for the upcoming All-Union Agricultural Exhibition, reporting to the master planner Vyacheslav Oltarzhevsky but largely independent and highly critical of him. The project was plagued by delays and political interventions. By the end of 1937 the "apparent simplicity" of Lissitzky's artwork aroused the concerns of the political supervisors, and Lissitzky responded: "The simpler the shape, the finer precision and quality of execution required... yet until now [the working crews] are instructed by the foremen (Oltarzhevsky and Korostashevsky), not the authors" (i.e. Vladimir Shchuko, author of the Central Pavilion, and Lissitzky himself). His artwork, as described in 1937 proposals, completely departed from the modernist art of the 1920s in favor of socialist realism. The iconic statue of Stalin in front of the central pavilion was proposed by Lissitzky personally: "this will give the square its head and its face" ().
Lazar Markovich Lissitzky (, ; – 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.
In 1925 Ladovsky teamed with El Lissitzky to design new housing for Ivanovo; their plans were based on arranging residential blocks at 120° in zigzag or star patterns. This approach allowed cost-saving on common-use staircases, ventilation and plumbing lines. One 12-segment building of this type, combining both star and zigzag junctions, was completed in Khamovniki District of Moscow. The next year, Ladovsky and Lissitzky released the first (and only) volume of "Izvestia ASNOVA" (), compiled mostly from Ladovsky's works.
During this period Lissitzky proceeded to develop a suprematist style of his own, a series of abstract, geometric paintings which he called "Proun" (pronounced "pro-oon"). The exact meaning of "Proun" was never fully revealed, with some suggesting that it is a contraction of "proekt unovisa" (designed by UNOVIS) or "proekt utverzhdenya novogo" (Design for the confirmation of the new). Later, Lissitzky defined them ambiguously as "the station where one changes from painting to architecture."