Text Sheet from Figurines - El Lissitzky
Archival giclée
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Description
A seminal lithographic title page by El Lissitzky, detailing his visionary designs for the electro-mechanical opera Victory Over the Sun.
This lithograph serves as the title page for El Lissitzky's portfolio, Figurines, which documents his conceptual designs for the opera Victory Over the Sun. The work reflects the artist's engagement with the Russian avant-garde and his interest in the intersection of theatre, mechanics, and typography. Lissitzky envisioned a production where human actors were replaced by electro-mechanical figures, moving away from traditional performance towards a synthesis of light, sound, and geometry.
The composition is structured with the precision of an architectural blueprint. Bold, sans-serif typography dominates the space, creating a visual hierarchy that guides the viewer through the list of characters, such as the Globetrotter and the Undertaker. The text block on the right provides a manifesto for the project, outlining the technical and aesthetic philosophy behind the spectacle. Lissitzky employs a stark, monochromatic palette, using the contrast between black ink and the paper surface to emphasise the clarity of his geometric forms. A small black square, a recurring motif in his work, appears near the centre, referencing the influence of Kazimir Malevich and the Suprematist movement.
This print is a significant example of early twentieth-century graphic design, where the page is treated as a dynamic space for communication. The arrangement of text and negative space demonstrates Lissitzky's mastery of layout, where the printed word functions as a visual element rather than merely a carrier of information. By documenting the theoretical underpinnings of his mechanical theatre, this sheet provides insight into the broader aspirations of the Constructivist movement to integrate art into the fabric of modern life. The work remains a primary document for understanding the radical experimentation that defined the period, capturing the transition from traditional stagecraft to the machine-age aesthetic.
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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
Text Sheet from Figurines - 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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