A lithograph from the 1923 Figurines portfolio, depicting a geometric, mechanical interpretation of the human form for the opera Victory Over the Sun.

New Man is a lithograph from the 1923 portfolio Figurines, which documents El Lissitzky's designs for the electro-mechanical production of the Futurist opera Victory Over the Sun. This work represents the artist's attempt to translate the human form into a series of geometric components, reflecting the Constructivist interest in the intersection of technology and the body. The figure is composed of stark, simplified shapes: a sphere, a solid black disc, and angular planes that suggest a mechanical torso and limbs. By reducing the human subject to these basic elements, Lissitzky moves away from traditional representation, opting instead for a schematic approach that aligns with his broader interest in universal visual languages. The composition relies on the balance between the solid black forms and the lighter, grey-toned planes, creating a sense of weight and movement within a two-dimensional space. Lissitzky intended these figures to be realised as three-dimensional puppets or marionettes, operated by mechanical means rather than human actors. This vision sought to replace the fallibility of the human performer with the precision of the machine. The New Man, in this context, is not a biological entity but a construct of modern engineering, embodying the optimism of the early Soviet avant-garde. The clean lines and precise arrangement of shapes demonstrate the artist's mastery of graphic design, where every element serves a specific function in defining the figure's posture and presence. This print offers a clear view into the intersection of theatre, architecture, and graphic art that defined Lissitzky's career during the 1920s.