On December 30, 1941, one of the founders of Soviet design, architect and artist Lazar Lisitsky, the brightest representative of the world avant-garde, who dreamed of creating a new suprematic universe was gone from life.
Jewish Avangard
The young artist is Lazar or, (as he signed himself), El Lisitsky inspired the idea of \u200b\u200bbecoming new Jewish art. In 1916, he, already with Darmstadt architectural education by the shoulders, is in a hurry to take part in collective exhibitions of the Jewish Society, and next year he enthusiastically illustrates books for Yiddesh, later, reverting roots, goes to the expedition on Belarus and Lithuania in search of monuments of Jewish Starny , Reproduces the unique paintings of the Mogilev synagogue. Of course, he is cosmatic (or suprematically) far from traditional art, but uses folk Jewish symbolism in the works. In 1919, he was already at the head of the Jewish avant-garde - the artistic and literary association "Kultur-League". Lisitsky asked the main direction in the Jewish book schedule, and collectors pour tears of joy, getting Jewish fairy tales in his design at Christis auction.
Art of Prunov
Suddenly Lisitsky understands that the flat surface of the canvas limits it as an artist. El creates the so-called trunks ("Projects of approval of the new"), in which painting borders with architecture. "We saw that the new picturesque work created by us is no longer the picture. It does not represent anything at all, but it designs the space, plane, lines with the goal to create a system of new real world relations. And it is this new structure that we gave name. - ProNe, "he writes to the German architectural publication. Thus, Lisitsky creates bulk three-dimensional suprematic worlds designed to make a revolution in the art of the 20s.
Design exhibition space
Lisitsky creates a luna room for a large art exhibition in Berlin in 1923. The exhibition's visitor unexpectedly turned out to be in the truncation itself, the space of which came into volume from the plane. So "Room of the Podunov" from the hall turned into a work of art. The principles used in the "Prunov Room" were useful for making the exhibition of the works of Petya Mondriana, Vladimir Tatlin and other artists in 1925-1927. The exposition entered into interaction with the affected viewer, the halls were divided with bizarrechlisters, when moving with an optical deception, the color of the room changed, the walls moved.
Horizontal skyscraper
In architectural projects, Lisitsky again took on the basis of his favorite standings. One of the brightest work that influenced modern architects is the project of a horizontal skyscraper in Nikitsky gates. Who could think that this fantastic idea will be real and even familiar in the near future! The project was not implemented, and the only example of the embodiment of the architectural ideas of Lisitsky serves the unfortunate printing house "Sparkling" in the 1st self-seamless alley, which did not burn the roof almost so long ago. The idea of \u200b\u200bLisitsky inspired architect buildings of the Ministry of highways in Tbilisi. On the banks of the River Kura stands this amazing structure similar to Rubik's cube. In Europe, the architectural plans of Lisitsky are embodied, processed and are embodied again. It is only worth looking at the modern Master Plan of Vienna! In the twentieth century, the skyscraper horizontal suddenly becomes somehow closer, clearer the vertical.
Folding chair
Foldable and transformed furniture firmly entered our modern use. In the 30s, Lisitsky with students was precisely it. And the project of an economical apartment produced Furore at the exhibition in the 1930th year. In the apartment everything turned out, combined and reincarnated. The tenant himself decided where he was sleeping, and where - there is. Working out the space of the apartment, El Lisitsky masterfully used her small area. At the same time, his famous collapsible chair was created, which was included in all the catalogs of the "classic" avant-garde furniture.
1929, Zurich, "Russian exhibition" represents a two-headed merging in love for socialism of the creature. Heads squeeze on abstract architectural figures, smile and dreamily looking forward. This Lisitsky poster creates a photomontage in the technique, he was seriously fond of and used in 1937 to create four issues of the magazine "USSR in Construction", dedicated to the adoption of the Stalinist Constitution. Lisitsky performed several campaign posters in the spirit of Suprematism, which are still popular, for example, "the Wedge of the Red Bay White!". Based on this famous poster, still create logos, Internet memes, collages.
Art of book
In the 20s, something completely new appeared in the world of books, something strange was happening with her cover. Lisitsky declared a book with a holistic artistic organism, and it came to the design as an architect. "The new book requires new writers. The inkwell and goose feathers are dead, "he writes in his notes" Topography of typography ". There are no more picturesque pictures on the entire page - design and content are one! The font shape is inextricably linked with meaning, so letters do not go uniform, but is "enclosed", the interval between them is reduced, it increases, helping minimal means to achieve maximum expressiveness ("Tale about two squares"). The result of Lisitsky's cooperation with Mayakovsky became released at the beginning of 1923 in Berlin a book-masterpiece "Mayakovsky for voice". It is noteworthy that in it a deforestation was made, as in the phone book - Tomik was intended for the readers. The book is amazing: what kind of harmony of the poetic word and graphics!
The exhibition "El Lisitsky / El Lissitzky" takes place in Moscow until February 18, 2018 on two platforms - in the new Tretyakovka and in the Jewish Museum and the Center for Tolerance. In the exhibitions, there are a total of more than 400 works, including almost never before in Moscow painting from foreign museums, a huge chassis of graphics, books, photos and photomontits - this is the first exhibition of Lisitsky, which allows to evaluate the entire scale of the inventor of the avant-garde era, The last work of which was created at the beginning of the Great Patriotic War, the famous poster "Everything for the front! All for victory! ". The curator of the exhibition Tatiana Goryachev and the editor of the exhibition catalog Catherine Allenova marked the key terms of Lisitsky's art, which he himself loved to strudule the books decorated by him as modern organizers.
El Lisitsky at work on a layout of the design "I want a child" on the play of Sergei Tretyakov at the State Theater named after Sun. Meyerhold. 1928. Silver-gelatin imprint. State Tretyakov Gallery
# EL.
Lazar Markovich (Mordukovich) Lisitsky was born 10 (22) November 1890 in the village at the railway station of the Pochinok Yelninsk district of Smolensk province (now Smolensk region) in the family of a merchant and housewives. Soon the family moved to Vitebsk, where Lazar Lisitsky studied drawing and painting at Yuri (Yehudi) Pan, teacher Mark Shagal. After it was not accepted into the Higher Art School at the Imperial Academy of Arts in St. Petersburg (according to the official version - performed a drawing of the "discobol" without observance of academic canons), he left for Germany to study at the Architectural Faculty of the Polytechnic Institute in Darmstadt, where in 1914 He defended a diploma with honors, and then returned to Russia and entered the Riga Polytechnic Institute to confirm the German diploma of the architect (in 1918, he defended the institute's diploma in 1918).
The project of the skyscraper on the square in the Nikitsky gate. 1924-1925. Paper, photo montage, watercolor. Russian State Archive of Literature and Art
Pseudonym El (EL), formed as a reduction in his name, sounding in Yiddish as Eliezer, Lisitsky "Officially" took in 1922. However, signed as EL he became a few years earlier. So, the dedication of his beloved Polina Hentova on the Shmuntitole decorated by him in 1919 the books "Had Gadya" ("Goat") signed by two Jewish letters - "E" or "E" (in the Jewish alphabet it is the same letter) and "L " But created a year later during the civil war, the famous poster "Wedd of Red Bey White" still has initials "LL".
Wedge red Bey White. Poster. 1920. Paper, lithography. Russian State Library
# Jewish_Ressans
The earliest works of Lisitsky are architectural landscapes of Vitebsk, Smolensk and Italy - are associated with training in the architectural department of the Polytechnic Institute in Darmstadt: the ability to make sketches of this kind was among the basic architectural knowledge.
Memories of Ravenna. 1914. Paper, engraving. Van Abbe Museum, Eindhoven, Netherlands
But after returning to Russia, Lisitsky turned out to be involved in the problems of national culture - born and educated in the Jewish environment, he kept connection with her throughout his youth. Becoming a member of the Mug of Jewish National Aesthetics and then cooperating with the artistic section of the League cultures, he became one of the most active participants in Jewish artistic life. The purpose of this activity was to search for a national style that retains traditions, but at the same time responding to the aesthetic requests of modernity. It was also important to study and preserve the Jewish cultural heritage.
Vintage synagogues, medieval Jewish cemeteries, ancient illustrated manuscripts attracted the attention of Lisitsky back during his studies in Germany. The testimony of his interest in the synagogue of the XIII century in Worms has been preserved. In Belarus, his interest caused an outstanding monument of national art - the murals of the synagogue in Mogilev. Lisitsky wrote about them: "It was truly something special ... as a baby cot with elegantly embroidered bedspread, butterflies and birds, in which the infant is suddenly waking up surrounded by splashes of the Sun; So we felt ourselves inside the synagogue. " In subsequent years, the synagogue was destroyed, and the only testimony of its pictorial magnificence remained copies of paintings made by Lisitsky.
Copy of Mural Mogilev Synagogue. 1916. Reproduction: Milgroym Rimon, 1923, No. 3
But the main sphere of activity of Jewish artists of the new generation was art in its secular forms. As the main direction of its work, artists elected the design of books, in particular, children's, - this area guaranteed a mass audience. After the cancellation in 1915, the rules restricting the publication in Russia of books on Yiddish, the master of book graphics faced the task of creating books that could compete with the best Russian publications.
In 1916-1919, Lisitsky created about thirty works in the field of Jewish book graphics. Among them, nine illustrated books (in particular, the exquisitely decorated book-scroll "Sihahat Hulin" ("Prague Legend"), individual drawings, collections, tanning and exhibition catalogs, publishing stamps, posters.
# "Prague_Shelda"
"Sihant Hulin" ("Prague Legend") Moishe Broderzone was released in 1917 by edition in 110 numbered lithographic copies; 20 of them are made in the form of scrolls painted from hand and placed in wooden ark (only the title page is painted in the rest of the copies). In this design, Lisitsky used the tradition of Torah scrolls wrapped in precious fabrics. The text was written by a professional scribe (Coyfer); On the cover of the book-scroll depicted the figures of the three authors - the poet, artist and scribe.
Cover of the Book of Moishe Broderzone "Sihat Hulin" ("Prague Legend"). Paper on the canvas, lithography, color mascara State Tretyakov Gallery
The "Prague Legend" was the first edition of the Jewish National Aesthetic Circle in Moscow in 1917. In his program, it was: "The work of a mug of Jewish national aesthetics ... is not common, but an intimate character, because the first steps are always very legible and subjective. That is why the circle produces its publications in a small number of numbered copies, published with all thoroughness and a variety of technology provided by modern book-printing art at the disposal of book lovers. "
The design of the book of Brodzone "Sihat Hulin" ("Prague Legend"). Scroll (paper on the canvas, lithograph, color mascara), wooden ark. State Tretyakov Gallery
The plot of poems is borrowed from the Idish Folklore. "Prague Legend" tells about the child Joyne, who in search of earnings to feed the family falls into the palace to the princess - daughters of the Ambodea Demon. He has to marry her, but he hurts around the house, and the princess lets him for a year. Rebbe again begins the familiar life of a pious Jew. A year later, realizing that Joyun was not going to return, the princess finds him and asks to return to her, but the rebbe does not want to change her faith anymore. The princess for the last time kisses him goodbye, and from the enchanted kissing the guy dies.
# Figurians
In 1920-1921, Lisitsky developed a project setting the Opera "Victory over the Sun" as ideas where, instead of actors, "Figures" were to act - huge puppets, driven by an electromechanical installation. In 1920-1921, Lisitsky created the first version of the design of the opera, its sketch folder, made in a unique graphic technique, was called "Figures from the opera A. Klychey" victory over the Sun "." Further, in 1923, a series of color lithographs, named German Figurinen ("Figures") was performed.
For the first time, the opera was set in 1913 in St. Petersburg and marked the birth of a futuristic theater in Russia. Libretto wrote a poet-futurist Alexey Tschechy, music - Mikhail Matyushin, and the scenery and costumes performed Kazimir Malevich. Libretto and scenography was based on the utopian construction of a new world. The scenographic interpretation of Lisitsky strengthened the initially futuristic nature of drama, turning the performance into the real theater of the future. The electromechanical installation, according to the author's plan, was placed in the center of the scene - thus, the process of managing puppets, as well as sound and light effects, was made part of the scenography.
The formulation of Lisitsky was never implemented. The only testimony of this grand innovative project was the albums of the sketches, made in the form of folders with individual sheets in them (the folder 1920-1921 was performed in the original technique; the folder published in 1923 in Hannover consists of non-ferrous lithographs, absolutely identical to the original version) . In the preface to the album lithographs of 1923, Lisitsky wrote: "The text of the opera made me keep in my figures something from human anatomy. Paints in separate parts<...> Used as equivalent materials. That is: under the action of part of the figures should not be unable to red, yellow or black, much more important if they are made of a given material, such as, for example, shiny copper, wrought iron, etc. "
# Poduna
The project ("Project approval of a new") is a neologism, which El Lisitsky came up with an artistic system invented invented by it, which connected the idea of \u200b\u200ba geometric plane with a constructive construction of a bulk form. The plastic idea of \u200b\u200bthe Podun was born at the end of 1919; The term formed by the same principle as the name of the UNISIS group ("Approtients of New Art"), Lisitsky composed in the fall of 1920. According to his autobiography, the first project was created in 1919; According to the testimony of the Son of the artist, Jena Lisitsky, it was a "house above the Earth." "I called them a" project, "- wrote El Lisitsky, - so that the paintings did not look for them. I considered these works by a transformation station from painting to architecture. Each work represented the problem of technical statics or dynamics, expressed by the means of painting. "
ProNE 1 S. House over the Earth. 1919. Paper, Graphite Pencil, Mascara, Gouache. State Tretyakov Gallery
Combining geometric planes with images of three-dimensional objects, Lisitsky lined up ideal dynamic designs, soaring in space that do not have top, nor Niza. The artist emphasized this feature, the artist emphasized: "It turned out to be destroyed by the axis of the painting, the only perpendicular to the horizon. Rotating the project, we screw themselves into space. " The exploits used the motifs of technical design and techniques of descriptive geometry were used, promoted buildings with different points of departure. Coloring of the belongs was restrained; The color indicated the mass, density and texture of different estimated materials - glass, metal, concrete, wood. Lisitsky turned the plane into the volume and back, "dissolved" the plane in space, created the illusion of transparency - volumetric and flat figures seemed to penetrate each other.
ProNE 1 D. 1920-1921. Paper, lithography. State Tretyakov Gallery
Belun motifs often repeated and varied in various techniques - machine graphics, painting and lithographs. These structures were represented by Lisitsky not only by abstract plastic and spatial buildings, but also concrete new forms of the future: "And through the outlines we will go to the construction over this universal foundation of the world's world city of the life of the globe.<…> The project begins its installations on the surface, proceeds to spatial model structures and goes further to the construction of all forms of life, "he stated.
Etude Podun. 1922. Paper pasted on cardboard, graphite pencil, coal, watercolor, collage. Street Museum, Amsterdam
Lisitsky argued that his standings are universal - and indeed, innovative structures invented them, their individual details and general composite techniques were used as the basis of plastic solutions in printing, exhibition designs and in architectural projects.
# Exhibition_Diza
El Lisitsky, in essence, invented the exhibition design as a new kind of artistic activity. Its first experiment in this area was the "Space of the Podun" (PrunenRaum). The name carried a double meaning: plastic techniques for building space in the explorations were used to place them in the demo room.
In July 1923, in the Big Berlin exhibition, Lisitsky received at his disposal a small room where the installation was installed, in which there were not picturesque outlines, and their completed copies were made of plywood. They did not simply be located on the walls (the ceiling was also involved), but the space was organized, asked the viewer and the pace of inspection.
Space of the Podunov. Fragment of exposure of a large Berlin art exhibition. 1923. Paper, offset printing. State Tretyakov Gallery
In the explanatory article, Lisitsky wrote: "I showed the axis of my formation of space here. I want to give the principles here, which I consider necessary for the fundamental organization of space. In this already specified space, I try to show these principles clearly, taking into account the fact that we are talking about exhibition space, and for me, therefore, about the demonstration space.<…> The equilibrium I want to achieve must be mobile and elementary, so that it cannot be broken by the phone or subject of office furniture. " Remarika about the possibility of existence in this interior of the phone and furniture emphasized the functionality of the project, its claim on the versatility of the method.
Interior of the Hall of Constructive Art at the International Art Exhibition, Dresden. 1926. Silver-gelatin imprint. Russian State Archive of Literature and Art
At the International Art Exhibition in Dresden in 1926, Lisitsky as an artist-engineer created the "Hall of Constructive Arts": "I put it vertically, perpendicular to the walls of thin rails, painted them on the left white, right black, and the wall itself was gray.<…> The system of retreating rails I interrupted in the corners of the room with caissons. They are half closed with mesh surfaces - a grid of stamped sheet iron. Top and below are paintings. When one of them is visible, the second flickering through the grid. With each movement of the viewer, the exposure to the walls changes in space, what was white, becomes black, and vice versa. "
Cabinet abstraction. Fragment of exposure in the provincialmuseum, Hannover. 1927. Silver-gelatin imprint. State Tretyakov Gallery
The same ideas, he further developed in the Abstrakte Kabinett (Das Abstrakte Kabinett), commissioned by the Provincial Director of the provincialmuseum in Hanover Alexander Dorner to exhibit contemporary art. There the interior was supplemented with mirrors and horizontally rotating showcases for graphic work. Sending a colleague Ilya a cup of "Abstraction Cabinet", Lisitsky wrote: "" I attach a photo here, but what is there, you need to explain, because this thing lives and moves, but on paper it is only peace. "
In the Pavilion of the USSR at the International Exhibition "Press" in Cologne (1928), the main exhibit was the following design: the spatial diagram of the Soviet Constitution in the form of a glowing red star, moving attitudes and transmission, including the Red Army, Alexander Naumova and Leonid Teplitsky, as well as a grand photophriz. "International printing recognizes the design of the Soviet pavilion by the major success of Soviet culture. For this work marked in the order of the Council<…>. For our pavilion in Cologne, I perform a photomontruise frieze size of 24 meters by 3.5 meters, which is a model for all ultra-abandoned installations that has become the mandatory belonging to the following exhibitions, "recalled Lisitsky in the autobiography written shortly before death.
# Photo experimentation
In the 1920s and 1930s, the experimental photograph gained popularity among the artists of the avant-garde - she not only became an independent type of art, but also had a significant impact on graphic design and printing. Lisitsky used all the technical and artistic possibilities of the modern photo - photocollage, photo montage and photogram. His favorite reception was a projection photo montage - combined printing from two negatives (this is how his famous self portrait of 1924 "Designer"). Another method - photo collage - was based on the connection in the composition of the cut fragments of photographs. The photoogram was created by exposure of items directly to photosensitive paper.
Man with a wrench. About 1928. Paper, Photogram, Chemical Toning. Russian State Archive of Literature and Art
Lisitsky called this technology "Photographic" and considered it one of its most significant artistic experiments; He wrote about his work in this area: "Work on the introduction of a photo as a plastic element in building a new artwork". The pictorial and technical resources of Lisitsky photographic and technical resources were used in the exhibition design - in photofree and photofrescoes for the design of exhibition premises, and in printing.
# Typography_photokniga
Among all the decorated, constructed books mounted by him, Lisitsky invariably allocated two: "Suprematic tale about two squares", composed of them (Berlin, 1922,), and "For Voice" of Mayakovsky (Moscow - Berlin, 1923).
All that formed the basis of their creation, Lisitsky with constructivist conciseness was formulated in the article "Topography of typography", published in Merz magazine published Kurt Schwitters (1923, No. 4):
"one. The words of the printed sheet are perceived by the eyes, and not on the rumor.
2. Concepts are expressed by traditional words; We should issue concepts by letters.
3. Saving expressive means: optics instead of phonetics.
4. Registration of the space of the book by means of a typical material according to the laws of typographic mechanics must correspond to the forces of compression and stretching text.
5. Registration of the space of the book through the clichés must embody new optics. Supernatural reality of sophisticated vision.
6. Continuous series of pages - a bioscopic book.
7. The new book requires a new writer. Inkwell and goose feather are dead.
8. Printed sheet overcomes space and time. Print sheet, infinity of the book, it must be overcome. Electric Bible.
In 1932, Lisitsky became the responsible editor of the Journal of the USSR on the construction site. This monthly went out in four languages \u200b\u200band was focused primarily on a foreign audience. His main propaganda gun was photographing. The magazine was published from 1930 to 1941, that is, Lisitsky headed him as an artist actually throughout his existence. In parallel, he made propaganda photobooks - "The USSR is building socialism", "The Industry of Socialism" (1935), "Food Industry" (1936) and others. It is usually said that the avant-gardeist and innovator in the 1930s became one of the artists serving the Soviet regime. And it is forgotten that the photobook itself was for the time innovation (experiencing digital renaissance today).
FOOD INDUSTRY. Moscow, 1936. Disposal of the book. Registration: El and Es Lisitsky. LS Collection, Van Abbe Museum, Eindhoven, Netherlands
The word Lisitsky himself: "The largest artists are engaged in installation, that is, the whole pages that are clisted for printing are made of photographs and signatures. This is in such a form of an unequivocal shock force, which seems very simple for use, and therefore in some sense it provokes for vulgarity, but in strong hands will be the most thankful method and means of visual poetry.<…> The invention of machine painting created the greatest masterpieces, but the effectiveness disappeared. Cinema and illustrated weekly. We rejoice in new funds that give us technique. We know that with a close connection with social reality, with a constant pointing of our optical nerve, with a record speed of the development of society, with consistently boiling ingenuity, with the possession of plastic material, the structure of the plane and its space, we will eventually report new effectiveness of the book as Work art.<…> Despite the crises that are undergoing book production along with other types of production, Book Gutchcher grows with each year. The book will become the most monumental masterpiece, it will not only be undead gentle hands of a few biblies, but grab the hands of hundreds of thousands of poor. In our transitional period, the same explains the predominance of the illustrated weekly. The mass of children's books with pictures will also join us for the mass of illustrated weeklies. Our kids are already taught when reading a new plastic language, they grow up with another attitude towards peace and space, to the image and paint, they, of course, will also create another book. However, we will be satisfied if the Lyrics and Epos expression are found in our book, characteristic of our days "(" Our Book ", 1926. Translation from German S. Vasnetsova).
#Constructor
In 1924, Lisitsky made the famous self-portrait, impulse to the creation of which, according to Nikolai Hardzhieva's testimony, served as Michelangelo's quoted Vazari: "Circle should be in the eye, and not in hand, for the hand works, and the eye judges." According to Vazari, Michelangelo "the same adhered to the architecture."
Constructor. Self-portrait. 1924. Photomontage. Cardboard, paper, silver-gelatin imprint. State Tretyakov Gallery
Lisitsky considered the circus inherent tool of the modern artist. Circle's motive as an attribute of modern artistic thinking of the creator-designer has repeatedly appeared in his works, serving the metaphor of flawless accuracy. In theoretical writings, he proclaimed a new type of artist "with a brush, a hammer and a circulation in his hands", creating the "city of the commune".
Architecture Vhutemas. Moscow, 1927. Cover book. Photomontage: El Lisitsky. Meeting Mikhail Karasika, St. Petersburg
In the article "Peacebuilding Suprematism" Lisitsky wrote:
"We, who came beyond the limits of the paintings, took in their own hands the savings, ruler and the circulation, because the spray brush does not match our clarity, and if we need, we will take into our hands and the car, because to identify creativity and brush, and the line , and the circulation, and the car is only the last joint of my finger, drawing path. "
#Inventor
In the draft recording of the early 1930s, made by Lisitsky sketch of an unfulfilled exhibition or autonography. The project entitled "Artist-Inventor EL" consisted of seven sections reflecting all kinds of art in which Lisitsky worked: "Painting - a project (as a transplant station for architecture)", "Photographic - new isoismism", "Polygraphy - Typidation, Photo Montage "," Exhibitions "," Theater "," Internal architecture and furniture "," Architecture ". Lisitsky's accents are indicated that his activities have appeared as Gesamtkunstwerk - a total artwork, synthesis of different types of creativity forming a single aesthetic environment based on a new artistic language.
Elizabeth Svilova-Vertova. El Lisitsky at work on the poster "Everything for the front! All for victory! Let's get more tanks. " 1941. Sprengel Museum, Hannover
Lisitsky did not allocate any main sphere in its activities: the key concepts for him were the experiment and the invention. The Dutch architect March Stam wrote about him: "Lisitsky was a true enthusiast, full of ideas interested in all that would lead to creative for future generations of creatively converted surrounding world."
1. The words printed on the sheet are perceived by the eyes, and not on the rumor.
The first of the eight principles of the typography laid out by Lisitsky in the "Topography of typography" in 1923. The term of the typography itself is also invented by Lisitsky. In the same year, the book of the poems of Mayakovsky "For Voice" in the design of Lisitsky. The design of the book he ordered the Mayakovsky himself, according to his plan, she was intended for regular gain from public reading stunner. To facilitate the search for a specific poem, Lisitsky issued a book as a telephone directory by pulling down the ladder along the edge of the page. Do you understand why the book has such a name? :) Lisitsky wanted to achieve the unity of the poem and the elements of the typography and achieved, and even for the design of this book, he received an honorary invitation to join Gutenberg's society.
Pictures brazenly stolen from the diary babs71
. He can also admire all other pages.
I am ashamed, but these are the most correct pictures that I found. The "volume" is visible, which is the pages so slyly cut off, and not just the inscriptions along the edge printed.
The most famous work of Ely Lisitsky. The plan of the offensive, calling for action, as well as the icon of the Suprematic printing.
Visual illustration of the third princer "Savings of perception - optics instead of phonetics." The poster was made in 1920 for the political plan of the Western Front.
And in the 80s, its outflows :)
"Tale of two squares", 1922. Book for children. Again the minimum of funds and maximum expressiveness. I would not like this book as a child. Lisitsky wanted to somehow unite them, assumed to use a film package, something like a cartoon, it is a pity that there are still no such in the Soviet Union. But a person who dreamed of a continuous sequence of pages, bioscopic books and anticipated appearance electrobilelek, obviously understood what kind of supermult could be.
In 1922 published together with I. G. Erenburg magazine "The item"
(in Russian, French, German).
Lithograph from the album "Victory over the Sun. Electromechanical Show", 1923.
"New person"
Draft horizontal skyscrapers in Moscow. 1923. Lisitsky offered to build several such skyscrapers at the point of restoring radial streets with a boulevard ring. To save space and time. One of the supports descended under the surface to restore the metro lines and served as an output from the station. About the other two planned tram stops. There would be different institutions from above.
Poster of the first Soviet exhibition in Switzerland.
Cover the prospectus of the Soviet department of the international exhibition of hygiene in Dresden.
Cover catalog of the Soviet pavilion at the international press of the press "Press" in Cologne in 1928.
Children's book "4 Actions". Published was not.
El Lisitsky died in December 1941.
A few days before his death, his poster was printed in many thousands
"Let's get more tanks ... Everything for the front! All for victory! ".
Self-portrait. Photomontage. 1924. El like in ancient Russia means "God", hence the circulation.
This year marks 120 years since the birth of Vladimir Mayakovsky. In addition, the connoisseurs of books, designers, designers and polygraphists can mark another round date: Rightly 90 years ago, the Book "Mayakovsky for Voice" was published, created by El Lisitsky. This book is still an unsurpassed standard of constructivism, as well as the expressive experience of visualizing the poetic word.
"Printed sheet defeats space and time"
L. Lisitsky
In the life of Vladimir Mayakovsky, more than 100 books came out - the rarest productivity and incredible publishing activity. At the same time, 1923 can be recognized as the year of the highest achievements in the Buddentist of Mayakovsky: first, during the year 19 of his books were published (!), And secondly, nothing equal to books-concepts "for voice" and "about it" ( Decorated, respectively, Lisitsky and Rodchenko) no longer appeared. In this article, we carefully consider the first of them.
Cover Merz magazine (1923, No. 4)
The cover of the book provokes a dual reading of the title, for the name of the author can be understood as the element of the title: "For voice" VS. "Mayakovsky for voice." It can be argued that such a type of registration is far from occasionally, since when analyzing the title of all lifetime books of Mayakovsky, an important feature is revealed: 17 books are already in the very title contain the surname of the author (!). In addition, on a number of covers, the Last Name "Mayakovsky" is not accompanied by no name nor the initials, "this is also a conscious element of a total life strategy, the transformation of his own name to the nominal (in" Brand ").
I am a black pants
("Coff of Fata", 1914)
i go - beautiful,
twenty-two-year-old ...
("Cloud in the pants", 1916), -
reaching even outcast-professional notes in the poem "Man" (1917). Over time, the voice of Mayakovsky began to be perceived by contemporaries as a kind of mythologist, the poet himself did not stop singing his own voice even when the romantic impulse of the revolution remained behind. It is significant that the Poetic will of Mayakovsky - the most powerful bunch of energy faced with straight to the future "through the heads of poets and governments" is not different as "in full voice" ...
Runs from the book "For Voice"
But back to the collection "for voice." In addition to the already said, in this title additionally emphasizes the nature of the book as "scores" - unwittingly anticipating future musicians of Mayakovsky, with their subtitles "for voice and piano", "for choir with piano", etc. Lisitsky mounted illustrations from elements a set cash register, printing made of black and red paint; Cutting-register with set symbols to each poem gave the book volume thingboth peculiar "interactivity". Like architectural creation, the book is "designed", as was indicated on Avantitule.
The title page is placed anthropomorphic "Figurine" -Proun, - a robotic character "Reader", entirely borrowed from the album of lithographs released by Lisitsky in Hannover in the same 1923 based on the opera A. Kratynykh, M. Matyushin and K. Malevich "Victory The sun "(1913) - therefore the geometric circle on the orange cover of the collection" for voice "is quite appropriate to consider exactly how the sunMoreover, one of the poems of the collection is nothing but a conversation of Mayakovsky with the sun.
Figure "Readers" on the title of collection "for voice"
Another composition is given on the frontpit - in the form of an open rings with a triangle, square and three letters: an ideograph of dedication L Yu B. - Initials of the beloved poet, who are incumbent in infinite LOVE LOVE. It can be assumed that by designing this frontispis, Lisitsky was guided by the instructions of Mayakovoy himself, or it took as a substantive frontispiis-ring as a basis for the collection of Mayakovsky's writings called "13 years of work", a semi-year-old one (the design of Anton Lavinsky).
But, I suppose the composition of El Lisitsky on the front-site book "For Voice" is simultaneously able to read and as a giant letter " E." That is, it is nothing like a monogram-initial artist himself ( E.l). Let me remind you that the cover of the Berlin magazine "The thing" (1922) can also be viewed as a gigantic author's monogram - this time in the form of a Latin letter " L.».
Ideogram LU YU B on Frontispisis of the Books of Mayakovsky "For Voice" and "13 years of work"
Interestingly, the principle of the register book was anticipated by Lisitsky a little earlier, on the cover made by him for the book of R. Ivanov-Obsend "Mayakovsky:" Mystery "or Buffy" (Berlin, 1922), which beats the alphabet vertical in the phone book. This entirely built on the font cover carries an obvious reference to the Black Square Malevich, as well as game analog - the name of the publisher unexpectedly "manifests itself" in the name of the hero of the book: Sk.fAs ↔ Mayakov Sk.th.
In the subsequent decade, Lisitsky used the principle of the register as a constructive and designer reception repeatedly - when making books and journal covers, catalogs, guidebooks.
The cover of Lisitsky to the collection "For Voice" was borrowed by Nicholas Ilyin in the year when the second issue of the Nizhny Novgorod magazine "Working Creativity" was borrowed in 1924. However, it is difficult to choose the appropriate definition here - whether it is borrowing, variation, imitation, whether it is a grazing and an intracean gesture, an aprepreneurial achievement of the master, or a banal plagiarism. It must be said that the plagiarism was not uncommon in those years; According to the authoritative judgment, V. Krychevsky, "they looked at the plagiarism as the introduction of decent samples." I will note that later Ilyin became the author of two covers of the injured books of Mayakovsky, in which the direct influence of Lisitsky [. But now we compare the cover "for voice" and the cover of "working creativity".
Cover Lisitsky for the book "Mayakovsky:" Mystery "or" Buff "?" (1922); "For voice"; Cover N. Ilyina for the magazine "Working Creativity" (1924)
First of all, we see that for your cover Ilyin chose the seal in the same two colors - red and black. Large capital letters from typographical dies and a completely identical circle "Sun" (bottom right) duplicate the composition of Lisitsky. Dynamic two-color rules added by Ilyin - echoes / imitation of Suprematic buildings of Lisitsky, which have lost its ideological charge and transmitted here in excess decoration. Known a special copy of the cover, printed (what is important!) On the same orange cardboard, as well as the cover of Lisitsky.
In 1927, an article Sophie Cupperse, Lisitsky's wife, with an overview of the exhibits of the production schedule at the All-Union Printing Exhibition in Moscow appeared in the "Printing Production" journal. She stopped in detail just on the collection "for voice," work on the design of which is interpreted, in essence, as a manifesto:
"The most conscious work on a typical material and a book as a whole produced a number of years ago Lisitsky, fascinated by the capabilities of high foreign machine techniques. His book of Pychs Mayakovsky is the first experience of creating an architectural complex from the cover, register, individual pages and poetic content. All elements of printing, the value of letters, their relationship and proportions, the size of the pages, the ratio of the surface of the surface to clean, color intersection, all the features that the set office gives, are used here and merged into a single whole, which gives a new face. It is these political poems that these exciting calls for mass cannot be otherwise typographically decorated, as it is clearly and sharply active letters and numbers that are concentrated in optical signs corresponding to the sound content of the verse. Each poem remains in the memoil as a brand ... "
It remains to say that another testimony of that Furor, who produced the book of book designers and typography book "for voice," in my opinion, serves one of the illustrations of Kirill Zdanevich for the books published in Tiflis "that neither the page is the elephant, then the lioness "(1928). The initial lines "Lion show I, / Look, / Nata / he is not at all the king of beasts / Just the chairman" Zdanevich accompanied the painted portrait of the author himself (in a characteristic jacket, vest and tie), and in the left hand, the Received Mayakovsky keeps anything other than For voice "Lisitsky ...
Kirill Zdanevich. Mayakovsky with a book "For Voice" in Hands (Ill. From the book "That neither the page is the elephant, then the lioness"; 1928)
Only one judgment of Mayakovsky about this magnificent book was preserved, recorded in the retelling of the Journalist of the Odessa "News" (number of February 21, 1924): "In the Berlin Publishing House, the RSFSR published a book" Mayakovsky for voice "(the design of the artist Lisitsky), which is exceptional on the technique of execution of graphic art.
"Photos of the book were published in various newspapers of Germany and France ... A special evening was devoted to the" NollendorfPlatz "cafe" Nollendorfplatz ". The speaker was Viktor Shklovsky. Several storms. Characteristic for the atmosphere of this "Friday," as I remember, was the performance of Andrei White, who criticized the "thing" and called me and Ehrenburg "Antichrist larvae." White Guard newspapers, such as the Berlin "steering wheel", with foam at the mouth scolded a book, the moderate editions gave a positive assessment. Thus, the Parisian "Recent News" wrote: "A book released by Mayakovsky in Berlin (" for voice ") is still very good, it can not be denyed that: talented, yazvitelny" ".
At the homeland, the Mayakovsky itself brought part of the circulation "for voice". The book was little interested in the management of the Gosprint, which condescendingly considered it "not harmful." Coming out in January in January 1923, the main circulation of at least December 1924 lay without movement in Germany, after which it was finally exported and sold in the USSR. The fact that "for voice" appears on the Giza's advertisements at least until the end of 1927, makes it possible to conclude that with three thousand kopecks (and at the price of 1 ruble 50 kopecks) Even four years after entering the light, this book masterpiece is all Not yet sold out. Many later book has repeatedly reproduced faxing and even its reprints, not to mention the originals, are pearls of any book collection.
The newest Dutch reissue collection "For Voice" (Amsterdam, 2012)
About the second book, the poem "Pro it", see: Lavrentiev A. N. Alexander Rodchenko. M., 2011. P. 206-207; Rossomakhin A. Mayakovsky and Rodchenko: "About this" // Projector. 2012. № 2 (19). Pp. 98-101.
E.L. Malirovsky
"... New work on the book did not go so far so that now to blow up the traditional form of the book. Despite the crises that book products are experiencing along with other types of products, Book Gutchcher grows every year. The book turned into a monumental work of art, it is not only caressing the tender fingers of several biblies, hundreds of thousands of hands are enough. " This statement is unusually modern, meanwhile it is taken from the article "Our Book", published on the pages of the "Gutenberg Yearbook" about 80 years ago. Her wife, Lazar (Eliazar) Markovich Lisitsky, or, as he usually signed his work, El Lisitsky, had a tremendous influence on the formation of art of the book of the twentieth century.
Lazar Lisitsky was born on November 10, 1890 in a small town of fixing, lost among the forests of Smolensk province. Russians he became on a pure chance. His father, Mark Lisitsky, went to look for happiness in distant America, succeeded there and wrote a spouse so that she, together with two-year-old Lazar, came to him. But the mother of the future artist, a pious Jew, decided that before you need to consult with rabbi. Maudded by the years, the Rebbe said that he should not leave the land, where the graves of grandfathers and fathers are located. As a result, the novice American entrepreneur Mark Lisitsky returned to Russia, because he could not imagine his life away from his beloved wife and son, which was laughed in high hopes.
Soon the family moved to Vitebsk. And the little Lazarus was sent to study in the province Smolensk, where his grandfather had a small hat workshop. The boy fastened the Aza science in the Smolensk real gymnasium, and the vacation spent at home. Here he attended the school-workshop of the artist Yudle Pan (1854-1937), the pupil of the St. Petersburg Academy of Arts. The passion for drawing in the young Lazarus was still unconscious, but quite defined. Peng was a good realist, but, oddly enough, his disciples, of which Mark Chagall (1887-1985) became famous, became the namorators of all sorts of "Izmov", so characteristic for the twentieth century.
After graduating from the gymnasium, Lazar Lisitsky decided to go along the path of his Vitebsk teacher and went to St. Petersburg to enter the Academy of Arts. But he was not accepted. Then the young man went to Germany - to Darmstadt, where he became a student of the architectural faculty of the Polytechnic Higher School. In the summer of 1911, he visited Mecca artists - Paris, which was invited by Osip Tadkin (1890-1967), another native of Vitebsk, who became the famous French artist. In the summer of the next, 1912 Lisitsky traveled in Italy. I painted a lot, mostly landscapes, it was preserved with the types of Pisa and Ravenna. Bind-free pre-war europe generously opened up the cultural values \u200b\u200baccumulated centuries before the young artist.
El Lisitsky. From the photograph of 1919
The newly minted architect received a diploma before the very beginning of the First World War, and in 1914 he had to flee from Germany and with great difficulties - through Switzerland, Italy, Serbia - to get to Russia. The young man settled in Moscow, where he became an assistant architect Roman Ivanovich Klein (1849-1925), built opposite the Cathedral of Christ the Savior in front of Christicistic Museum of Fine Arts (now the State Museum of Fine Arts. A.S. Pushkin). At the same time, Lisitsky took the book graphic for the first time - made the cover to the poetic collection of the "Sun on the South" Konstantin Aristarkhovich Bolshakova (1895-1938), which was published in Moscow in 1916. It was the second collection of the author, adjacent to futurists. Large poet K.A. Bolshakov did not - during the civil war, he fought in the Red Army, and then wrote novels and historical and biographical stories. The work of Lisitsky for the collection of Bolshakova was largely eclectic, but the next graphic experiments already attracted the attention of banners of bookmakers.
Case "Prague Legend" M.Broderzone
In the spring of 1917, the Moscow Publishing House "Shamir" published an unusual book - "Prague Legend", a collection of poems M. Broderzone (1890-1956). These verses were written on Idische - in many ways an artificial language, which will sound contemptuously called a jargon, but on which the Jewish population of Russia, Poland, Romania said, was said to the Jewish population. M. Broderzon was young and was under strong influence of futurists. Subsequently, he will work in dramaturgy and journalism, and during the war he will write the poem "Jews", which was called the indictment against Hitlerism.
M. Berroderzon. Prague legend. M., 1917. Copy with manual Coloring El Lisitsky
The circulation of "Prague Legend" was small - only 110 copies. The text was reproduced by a lithographic way was not recruited, but written by the hand master of the calligraph. 20 copies of Lisitsky painted by hand. They were performed in the form of a scroll, which, like the Torah (so the Jews call the pentateuch of Moses - the initial part of the Bible), was concluded in a wooden globe box. Pages of Lazar Lisitsky scroll decorated with watercolor drawings and patterned ornamental frames. Delightful disturbing gladly glad. The book was separated by the Biblical Assembly. Today, one of the copies of this rarest publication is kept in the Museum of the Book of the Russian State Library. With the second one can be found in the State Tretyakov Gallery.
El Lisitsky. Figure from "Tales about the goat" (Kiev, 1917)
The traditions of the town of the Jewish folklore are based on the basis and other work of Lazar Lisitsky - "Tales of the goat", which was published in 1919 in Kiev. 75 copies of this book were illustrated with color lithographs. The text of the fairy tale echoes the legend of "Rabbi from Baherah" recorded by the German poet of Heinrich Hein (1797-1856). This allowed the Berlin Publishing House "der Morgen" to reproduce the legend in the new edition, released in 1978, faxifications of lithographs of the Russian artist.
El Lisitsky. Sheet from the album "ProNE". 1919.
The Ma 1919 of Lazarus Lazarus became a turning point in the life of Lasar, when, at the invitation of Mark Shagal, who headed the People's Art School in Vitebsk, he moved to his Belarusian city native to him, where he headed the architectural faculty and workshop of graphics and printed business.
Today it is customary to scold the October Revolution, the derogatory name of its Bolshevik coup. There are no words, the revolution led to the suffering of many innocent people. But at the same time, she contributed to a powerful cultural lifting, the awakening of the dormant in the provinces of the cultural forces, which made a significant contribution to the formation of new literature and art. In the article Lazarus Markovich Lisitsky, the excerpt from which we quoted at the beginning of the article, there are the following lines: "During the revolution, the hidden energy in our young generation was accumulated, which was waiting for a large order from the people to reveal themselves. The audience was a huge mass, the mass of people semi-arms. The revolution has done with us with tremendous educational and propaganda work. The traditional book was broken into separate pages, increased a hundred times, strengthened by color printing and put on the street as a poster. "
In the history of the pictorial art of the first post-revolutionary years, Vitebsk played an approximately the same role as Odessa in the field of fiction. It was a school of talents, in which young people were gathered under the wing, the young people who sought to blow up traditional forms. Casimir Malevich, Lasarya Lisitsky, Robert Falk, Solomon, Solomon, in the history of domestic culture, are no less glorious than the names of Odessa Edward Bagritsky, Konstantin Poist, Valentina Katava, Isaac Babel, Faith Inbera, Evgenia Petrov and Ilya Ilf.
The country was a civil war. Lasarian Lasar's sympathies were on the side of the revolution, with which he inextricably tied the formation and further development of new art. The artist participated in agitation and propaganda work, deployed power. At that time, she was in many ways in the hands of enthusiasts and romantics, which did not suspect that they would soon begin to destroy each other. In this regard, it should be noted by Lisitsky in 1919 a poster "Bay White Red Wedge". In its graphical solution, the features of the direction are guessed, which subsequently received the name of constructivism.
El Lisitsky. Poster "Bey White Red Wedge". 1919.
Together with Kazimir Malevich, Lisitsky organizes art workshops in Vitebsk, who, on Novoya, the revolution was named UNIVIS, which meant "approval of the new in art." The Commonwealth's manifesto became the "Suprematism" brochure, released in Vitebsk in 1920. It was small: four pages of handwritten text reproduced by a lithograph way, and 34 black and white lithographs. In 1977, at auction in New York, this book was estimated at $ 22,500.
An edition of the seven typewritten copies was released illustrated by the lithographs of the Almanac "UNIVIS", on the pages of which Lisitsky published articles "Suprematism of Creation" and "World Construction Suprematism". The ideas of Casimir Malevich had a decisive influence on the formation of the creative identity of Lisitsky Lazar.
I.G.Erenburg. 6 mistakes on the easy ends. M.; Berlin, 1922. Cover work El Lisitsky
In Vitebsk, there was a conceived album and the album "ProNE", the name of which is decrypted as "the draft approval of the new", published in Moscow, where Lisitsky returned in early 1921. Eleven lithographs in it preceded the Declaration. Some lithographs had names - "City", "Bridge", others were marked only by numbers. Almanac circulation was 50 copies. In the suprematic constructions there was something cosmic. "We are now experiencing an exceptional era of entering our consciousness of the new birth in space," the artist wrote.
At the end of 1921, Lisitsky leaves for a business trip to Germany - Berlin. This city at that time was the center of cultural life - both an emigrant, opposition to the regime established in Russia and sympathizing to him. The Russian publishers worked there, magazines were produced, exhibitions were held. Russian intellectuals gathered in the cafe "NollendorfPlatz", where on Fridays a kind of public reads arranged. Alexey Nikolayevich Tolstoy, Sergey Yesenin with Isador Duncan, Andrey White, Boris Pasternak, Victor Shklovsky ... Lisitsky became acquainted with the young poet Ilya Grigorievich Ehrenburg (1891-1967). The first novel that glorified him, "the" extraordinary adventures of Julio Gurenito and his students "- then did not get into the world. Together with Ehredburg, Lisitsky began to publish the magazine "The thing", which they opened a joint declaration. On his cover, the name was driven in Russian, German and French, similarly printed in the journal and some articles. Existed the magazine for a long time: the first dual number was released in early 1922, the following - in May; Continued, alas, did not follow. "" The thing, "- subsequently told Ehrenburg, - released the publishing house" Scythians ". It is easy to guess how revolutionary Slavophiles and incorrigible populists were far from the ideas of constructivism that we preached. After the first issue, they could not stand and marked printed from us. " But the magazine was conceived with a scope. In the first 32-page number there were six sections: art and public, literature, painting, sculpture, architecture, theater and circus, music, cinema. In the "Literature" section, the poems of Vladimir Mayakovsky, Sergey Yesenin, Boris Pasternak, Nikolai Aseeva, French and German poets were printed. In 1976, the "Thing" magazine was translated into English and published with detailed comments.
The initial strip of the magazine "The thing"
In the same 1922, Lisitsky made the cover and for the books of "6 leaders on the easiest" publishing house "6 leaders on the ends" publishing house "Heli Ehrenburg. Two colors were dominant here - black and red, contrasting, but amazingly and harmony with each other. A similar decision for several years has become for Lisitsky main - other colors for him as if it did not exist. He knew Lisitsky about this or not, but he walked in line with a long-standing national tradition: only these two colors were also used in the old-line Russian book of Kirillovsky font.
El Lisitsky. Cover magazine "Thing"
Friendly relations with Ehredburg have survived by Lisitsky until the end of days. Subsequently, at sunset of his life, Ilya Grigorievich recalled: "Lisitsky firmly believed in constructivism. In life, he was mild, extremely kind, sometimes naive, riff, fell in love, as they fell in love with the last century, - blindly, selflessly. And in art, he seemed to be an adamant mathematician, was inspired by accuracy, kneaded sobriety. He was an extraordinary inventory, he knew how to issue a stand at the exhibition so that the poverty of the exhibits seemed excess; I knew how to build a book in a new way. "
The great love of Lisitsky became Sophie Cuppers, a newly widowed woman with two young children, the owner of the art gallery in Hannover. It is difficult to say than attracted the young, beautiful and rich chime to the priest, half-baking and besides the sick (Lisitsky had tuberculosis) Jew. Sophie followed Lisitsky to the Soviet Union, tasted all the delights of the Stalinist regime here, during the war years he was sent to Siberia and died in Novosibirsk on December 10, 1978, surviving the second husband for 37 years.
But back to Germany at the beginning of the 20s. Starry hour broke through Lisitsky for Lazarus in 1922-1923, when two of his books were published in Berlin - "Suprematic Tale about two squares" and "For Voice" V.V. Mamakovsky. Lazar Markovich designed many books, but he considered these two for himself - it was them that he called, responding on February 25, 1925 on the relevant question of the questionnaire of one of the German encyclopedias.
"Tale" was "built" back in 1920 in Vitebsk. His Berlin Publishing House "Scythians" released. The activities of this publisher founded by E.G. Lundberg continued not long - from 1920 to 1925. The book was printed in the typography E.Habberda in Leipzig.
El Lisitsky. Collection reversals "Mayakovsky for voice." 1922.
"Suprematic tale about two squares" is a 10-page brochure addressed to "all, all guys." There are almost no text in it. The plot, quite transparent, but not immediately perceived, unfolds in pictures. Two squares - black and red - from a distant space fly to Earth. Here they see the domination of black and "alarming." Punch in black - and harmony is installed. Red buildings erected on black soil. In subtext, there is a story about the eternal struggle of good with evil, as well as the premonition of great shocks, which prepared to humanity the twentieth century. For Lisitsky, first of all, the game of forms and colors, which everything is subordinated to. From the policy, the registration of the "said" was far away, for in him the red opposed not white, but black.
The book was successful and in the same 1922 was reissued in the Hague (Netherlands). Its cinematicity, if you can put it, immediately rushed into the eyes. "Tale" was even going to be shielded, but this idea, unfortunately, was not implemented.
For a collection "For Voice" V.V. Mamikovsky selected 13 poems. In the Moscow State Publishing, which the NEP proclaimed in 1921 was hardly a monopolist on the book market, the collection did not like. It is not forbidden, but clearly did not recommend to print. Sometime came the idea to release a collection in Berlin. The representative of the People's Commissariat of People's Publishing House helped this and was in his jurisdiction of the state publishing house in Berlin Zinoviy Grigorievich Greenberg. From his blessing on one of the first pages of the book appeared a vulture "R.S.F.S.R. State Publishing House. Berlin 1923. Moscow for this permission did not give.
In general, I must say that V.V. Mamikovsky has not experienced difficulties with the publication of its books, although Vladimir Ilyich Lenin, brought up in the Russian classics of the XIX century, somehow publicly said that he did not belong to fans of his work. But immediately recognized his incompetence in this area. In 1923, 15 Mayakovsky Pychs were published. Among them and a peculiar two-volume collection of the writings "13 years of work".
The decision of Z.Grinberg "Beators" immediately reported to Moscow. The bosses immediately made him the appropriate suggestion. On June 23, 1923, the head of the State Grade Nikolay Leonidovich Meshcheryakov (1865-1942) wrote Greenberg:
"According to our information in Berlin, according to your order, the printing of the book V.V. Maikovsky" Mayakovsky for voice "is ends according to your order - with an indication of the cover: state publishing house, Berlin.
If this information is quite true, then, although we are commercial considerations and do not find possible to make changes to the ready-made edition, delay the output from printing and selling it, however, we specify you for the perfect inadmissibility of giving orders to the publication without sanctioning them by the Redsector Gosizdata, for the ideological responsibility for all publications of the State draft brings to the party and the Soviet government the editorial board of the State draft.
At the same time, we bring to your attention that, according to the decree of the administrative commission of the State Grade from 21 this month, all responsibility for all misunderstandings of both commercial and legal order are personally entrusted, which may arise in connection with the above-mentioned publication Book V. V.Mamikovsky. "
El Lisitsky. Cover collection "Mayakovsky for voice." 1922.
Z.Grinberg Postfaktum asked permission to print books, but did not receive an answer from Moscow. It was not completed and more than a year later. On November 22, 1924, Greenberg wrote to Moscow: "... the third question concerns the detention here are also the books of Mayakovsky" for voice. " As you probably know from my letter, Mayakovsky printed here a collection of his poems "Mayakovsky for voice." At the request of the author, considering it a book not harmful to the stateism as an author who has a large range of readers, I purchased 2000 copies here. and gave the appropriate order to the bookprinting department from 15 / XI - 22. The book publishing department put on the book a publishing brand, without requesting my consent. In my request, whether to send this book to the State District, the latter did not give me any answer. The book is on this time here. Around to your information about the foregoing, I really ask to inform me how to do with Mayakovsky's book in the amount of 1000 copies. Thousand Ex. He took with him Mayakovsky for the transfer of the Gosprint. "
So, we will learn that the Berlin Berlin Breeding Department seems to be without the knowledge of Greenberg on the book of the State Publishing House. By the department, Ivan Pavlovich Ladzhnikov was led by the department. In his handwritten memories stored in the Museum of V.V. Mamakovsky, there is a short mention of the book "For Voice": "In Germany, V.V. Mamakovsky set forth the goal of publishing a book. The fact is that in Moscow then it was difficult to publish - there was no paper. I just headed the publishing department of trading in Berlin and tried to help in the publication of his verses. His fascinated appearance is a form. A form of someone inspired him, seems to be Lisitsky. The original thing in the form was a bit, but once a person like it - why not do, not help. And I helped in every way. " Ladies, as we see, the book developed by Lisitsky was skeptical. We will talk about the decision proposed by the artist to make sure how wrong was the official of the trading.
Lisitsky issued a book as a telephone directory - with a lasy register, allowing you to quickly find the desired poem. On the cutouts of the register placed abbreviated names of poems - "March", "Kuma", "Love", "Sun", as well as symbolic two-color patterns, composed of rectangles and circles. As in the "Skaza", only two colors are used in this book (if you do not count the paper) - black and red. Their struggle, turning into cooperation, continues.
The register gave the book the volume, which you immediately feel, taking it in hand. Art historian Yuri Yakovlevich Herchuk, in connection with this, wrote about the "Dynamics of the Book": "Table of Contents-Register," he argued, "he organizes many" entrances "in the book, gives quick access to the beginning of every poem."
Printed a collection "For Voice" Small Berlin Typography "Lutz Und Wogt" ("Lutze & Vogt G.M.B.H."). The book was published in January 1923. Her "dressed" into the binding of soft cardboard painted in orange color. The book was prepared by the Deposit Title Sheet with a hand drawn composition and a typical red text. This is the only leaf of the book, printed with halftone cliches. As a frontispisis, a composition in the form of a circle was used, inside of which a triangle, a circle, square and letters L YU B. These are the initials of Beloved V.V. Mamikovsky - Lily Yuryevna BRIC. If you read this inscription counterclockwise, it turns out "love". Thus, the frontispis is at the same time a dedication.
The circulation in the publication is not designated. From the above letter Z.Grinberg, it is known that he acquired 2000 copies and that 1000 of them were given Mayakovsky, and he took them to Russia. I liked the poet, but, oddly enough, he only once mentioned her - in an interview, given in 1924. He said the following: "In the Berlin Publishing House of the RSFSR, the Mayakovsky book for voice (the design of Lisitsky's artist) was released, which is the exceptional technique of performing graphic art." Phrase spoiling; It feels that these words are not Mayakovsky, but a journalist who brought his interview.
El Lisitsky. Cover books "About 2 squares". 1922.
Lisitsky himself, about the history of the publication "for the vote," spoke in an interview, which he gave 19 to 1939. "At the end of 1922, he said," we learned that Mayakovsky arrives in Berlin. It was characteristic of Mayakovsky - he always used the latest transport opportunities. Mayakovsky told me that the state publishing house is going to publish his book. For this, a branch of the state publishing house was created in Berlin. Mayakovsky offered me to take on how the graphics, the design of the book, while he will act as the author, and Lily Bric - as an editor. We selected 13 poems. The book was intended for public reading. To help the reader quickly find the right poem, I came to the thought of using the principle of the register. Vladimir Vladimirovich agreed with this. Usually our books were printed in large typography. The leading technical editor of the cliff has found a small printing house for us. He said: "This risky enterprise is better to implement in a small institution, they will understand you faster." The photoer was a German. He gained completely mechanically. For each page, I did a special sketch for him. He believed that we were a little touched. In the process of work, typography and typewriters were fascinated by this unusual book and realized that its content requires original design. At their request, I translated poems to them. "
As you can see, the circumstances of the publication "for the voice" are told by Lisitsky other than in the correspondence of Z. Grinberg with N.Mescheryakov. Something about the prescription forgotten. Technical editor of the Gosizdat Bruno Georgievich Sconds, for example, called the Nakapony.
"For voice" is not a rare book. In one museum of the book of the Russian State Library, it is in eight copies. Among them, those who belonged to the famous Biblies V.A. Desnitsky, A.K. Tarasenkov, N.P. Sirnov-Sokolsky. But in the famous library of Russian poetry Ivan Nikanorovich Rozanova was not her.
I was fortunate enough to purchase this book in August 1945 in a buckinist store on the then Soviet Square. I paid for it symbolic for those times the amount - 35 Doreform rubles. Books in the first postwar years cost fastener cheaply. I was interested in Mayakovsky at that time, and I did not hear anything about Lisitsky. And only many years later discovered what jewel I own. Posted by me the copy was full and clean. In the poem "Story about how Kuma about Wrangel interpreted" in it even survived the lines:
Censorship these stiffs ruthlessly drank, and in subsequent editions they missed them at all.
To be continued.
