Globetrotter in Time - El Lissitzky
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Description
A 1923 Constructivist lithograph by El Lissitzky, depicting a mechanical, geometric figure from his conceptual designs for the opera Victory Over the Sun.
Globetrotter in Time is a lithograph from the 1923 portfolio, Figurines: The Three-Dimensional Design of the Electro-Mechanical Spectacle, Victory Over the Sun. This series represents El Lissitzky's conceptual designs for a futuristic opera, based on the original 1913 Russian Futurist production. The artist reimagined the characters as mechanical, geometric puppets, moving away from human representation toward a vision of the human form as an engineered construct.
The composition employs a precise arrangement of geometric shapes: triangles, circles, and rectangles. These elements are balanced to suggest a figure in motion, yet the form remains abstract. The palette is restricted to black, grey, and a distinct red, which is characteristic of Lissitzky's work during this period. The lines are clean and technical, reflecting the influence of architectural drafting and engineering. The figure appears to float within the frame, defying gravity through the careful placement of its constituent parts.
Lissitzky sought to bridge the gap between two-dimensional graphic design and three-dimensional space. By treating the character as a series of modular components, he explored how movement could be expressed through static geometry. The work reflects the optimism of the early Soviet avant-garde, where technology and art were seen as tools for social and cultural transformation. The Globetrotter is not a portrait of a person, but a representation of a machine-like entity capable of traversing time. This print offers a clear view into the intersection of theatre, design, and political ideology in the early twentieth century. It remains a primary example of how the Constructivist movement applied industrial aesthetics to the performing arts, stripping away traditional ornamentation to reveal the underlying structure of the subject.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Globetrotter in Time - El Lissitzky
Artist Biography
El Lissitzky
He was born Lazar Markovich Lissitzky in 1890. After returning to Russia, he worked alongside Malevich at the UNOVIS art school in Vitebsk, where Suprematism and the revolution were supposed to be the same thing. He became one of the most influential graphic designers of the twentieth century, his poster designs, book layouts, and exhibition installations connecting Russian avant-garde art to the Bauhaus and De Stijl in western Europe.
He contracted pulmonary tuberculosis and continued working as a book artist and photomonteur because he could do it lying down. His sister Jenta committed suicide in Vitebsk in 1925 while he was hospitalised in Switzerland. He married Sophie Kuppers, a German woman whose family disapproved of the match; she had to leave her sons behind to move to Moscow. He died in Moscow in 1941, the year Germany invaded Russia.
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