Portfolio Cover, from the portfolio Figurines. The Three-Dimensional Design of the Electro-Mechanical Spectacle: Victory Over the Sun - El Lissitzky
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Description
A striking 1923 Constructivist lithograph by El Lissitzky, serving as the cover for his visionary portfolio on the opera Victory Over the Sun.
This lithograph serves as the cover for El Lissitzky's 1923 portfolio, Figurines. The work relates to the artist's conceptualisation of the opera Victory Over the Sun, a production that sought to replace human actors with mechanical puppets. Lissitzky envisioned these figures as three-dimensional, electro-mechanical entities, moving through space according to mathematical principles rather than traditional theatrical choreography.
The design reflects the core tenets of Constructivism, prioritising geometric clarity and the reduction of form to its essential components. The composition is dominated by a bold, sans-serif letterform, rendered in stark black against a neutral ground. This approach to typography and spatial arrangement demonstrates Lissitzky's interest in the intersection of architecture, engineering, and visual communication. By stripping away ornamental detail, the artist directs the viewer's attention to the structural integrity of the letter and its relationship to the surrounding white space.
Lissitzky was a central figure in the Russian avant-garde, and his work during this period often explored the potential for art to function as a tool for social and technological transformation. The portfolio itself contained ten lithographs, each depicting a character from the opera. These figures were constructed from basic geometric shapes, such as squares, circles, and triangles, which were intended to be assembled into articulated models. This cover design acts as a gateway to that project, establishing a visual language that is both precise and industrial. It remains a significant example of early twentieth-century graphic design, where the boundaries between fine art, typography, and stage design were intentionally blurred. The stark contrast and clean lines provide a sense of order and modernity, characteristic of the artist's broader output during his time in Germany and the Soviet Union.
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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.
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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
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- Frames in black, natural wood, dark wood or white
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- Dust gently with a soft, dry cloth
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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
Portfolio Cover, from the portfolio Figurines. The Three-Dimensional Design of the Electro-Mechanical Spectacle: Victory Over the Sun - 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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