Creation and activities of the embassy order. Formation and development of the diplomatic service in Russia in the 16th-17th centuries. The volume of work is growing

El Lisitsky (also El, pseudonym: the initial of his real name is Lazar; 1890, Pochinok station, now in the Smolensk region, - 1941, Moscow) - Soviet artist-designer, graphic artist, architect, master of the exhibition ensemble.

Biography of El Lissitzky

He grew up in a religious family of his grandfather (on his father’s side), a hereditary hat maker. While studying at the Smolensk Real School (graduated in 1908), he became interested in drawing and modern art.

Not accepted into Petersburg Academy arts due to his violation of academic canons in the examination drawing, Lissitzky left in 1909 for Darmstadt, where in 1914 he graduated with honors from the Faculty of Architecture of the Higher Technical School.

In 1912 he visited Paris, in 1913 he traveled to Italy on foot, which awakened in him a craving for primitive forms of archaic, folk, and contemporary art, and also instilled a cult of professional excellence throughout his life.

In 1914, Lissitzky settled in Moscow, in 1915–16. visited the Riga Polytechnic Institute, which was evacuated there (to obtain a Russian diploma in architectural engineering), was engaged mainly in graphics, participated in the work of the Jewish Society for the Encouragement of Arts (exhibitions in 1917 and 1918, Moscow, in 1920, Kyiv) and exhibitions of the World of Art association (1916 and 1917). Lazar Lissitsky was “an artist of great social emotions” (Khardzhiev N.), of high creative intensity, who had a keen sense of modernity.

Lissitzky's work

The creative path of L. Lisitsky (his active work lasted from 1917 to 1933) is not without complex contradictions, unfinished searches, perhaps even paradoxes, but the era itself was extremely complex - a time of merciless struggle of class ideas and ideologies in culture and art, when a decisive break was made in social relations rejected by history.

Lazar Lissitsky was “an artist of great social emotions” (N. Khardzhiev), of high creative intensity, who had a keen sense of modernity.

The nature of his talent did not allow Lissitzky to engage in abstract, consistent linguistic abstraction. Therefore, later he became close to production workers and constructivists, in 1925 he joined the Association of New Architects (ASNOVA) and began teaching the discipline “Furniture Design” at Vkhutemas; his design talent will manifest itself in the design of Soviet pavilions at international exhibitions (“Press” in Cologne, 1924; “Film and Photo” in Stuttgart, 1929; hygiene exhibition in Dresden and fur exhibition in Leipzig, 1930).

But this will happen after the artist has experienced his most active period: being sent to Berlin in 1921, until 1925 he practically played the role of an emissary of the new Soviet art in Europe.

Promoting the Soviet avant-garde in the stylistic unity of its constituent concepts (Suprematism, constructivism, rationalism), Lissitzky integrated it into the Western context. Together with I. G. Ehrenburg he founded the magazine “Thing” (1922), with M. Stam and G. Schmidt - the magazine “ABC” (1925), with G. Arp he published a book-montage “Kunstism” (Zurich, 1925), established connections with Le Corbusier's magazine Esprit nouveau.

He became a member of the Dutch architectural association "Style" and participated in competitions and exhibitions. At the same time, he continued to work a lot in advertising and book graphics (probably his best book, “For the Voice” by V.V. Mayakovsky), was published in Berlin in 1923), in photography and posters.

Artist's works

• Composition. OK. 1920. Gouache, ink, pencil
• “Beat the whites with a red wedge.” Poster. 1920. Color lithograph

• Title page of the album "Victory over the Sun". 1923
• Four (arithmetic) operations. 1928. Color lithograph
• Illustration for Jewish folk tale"Goat." 1919

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Collectors and dealers also love El Lissitzky for his poster “Beat the whites with a red wedge!” - the most expensive Soviet poster. Care: $182,500. Sotheby's auction. Prints. April 26-27, 2012. New York. Lot No. 131. The mystery artist and “eternal” wanderer of constructivism Lazar Markovich Lissitzky (El Lissitzky) (1890 – 1941) lived several lives in art. A graphic artist, illustrator, typographer, architect, photographer, theorist and architectural critic, as well as one of the creators of a new art form - design, Lissitzky is one of the key figures of the Jewish Renaissance,Russian avant-garde, photo avant-garde AndSoviet constructivism. He is a world-class man. In Russia they know him very, very poorly: ask on the street what prouns, Kestner folders, figurines, photograms, etc. are. - You will not hear the answer. Lazar Lissitzky has cheaper posters:

El Lissitzky. USSR. Die russische Ausstellung

(USSR: The Russian exhibition),

lithographed poster for exhibition

at the Kunstgewerbemuseum,

Care: 25,000 GBP Sotheby's Auction.

Lazar Lisitsky. Moscow is the capital of the USSR.

Moscow, 1940. 89x58.5 cm.

Lazar Lisitsky. Let's get more tanks

anti-tank rifles and guns,

airplanes, guns, mortars,

shells, machine guns, rifles!

Everything for the front!

Everything for victory!

Moscow - Leningrad, 1941. 43x59 cm.

El Lissitzky. TsPKiO. Sparrow Hills.

Ski station "Ice Mountains". Poster.

Lissitzky showed himself brightly and brilliantly in the photo avant-garde, where he was the first in many ways and won a leading position in the world. His photomontages for the album "Workers' and Peasants' Red Army. (RKKA)" - Moscow: Izogiz, Goznak printing house, 1934- simply fantastic:

Very noteworthy for the history of Soviet constructivist political posters was the publication of the famous folder: A. M. Rodchenko, El Lissitsky and others, “History of the All-Union Communist Party (Bolsheviks) in Posters.” Moscow, ed. Comacademy and the Museum of the Revolution of the USSR, 1926. Folder with 25 propaganda color offset posters 72.5x54.5 cm, made using photomontage techniques using museum materials, photographs and documents. They were also published in the languages ​​of the peoples of the USSR. Most of the posters and covers were designed by the artist Alexander Mikhailovich Rodchenko (1891-1956).This publication undoubtedly belongs to the genre of constructivism, in its most striking manifestations - propaganda.On the world antique market, the price for this publication is off the charts - under 100,000 “green”! After all, a symbeosis of two great constructivist artists... Grooming: £61,250. Sotheby's. December 01, 2010. Music, Continental and Russian Books and Manuscripts . London. Lot No. 220. One of the famous “ceremonial” photo publications of the Stalin period Russian history, when the Great Tyrant created history from events that did not happen, he documented what did not happen, fixed in the minds of people what did not exist.Propaganda publications were also published in other totalitarian states, they were given great importance, huge amounts of money were spent, but only the Soviet propaganda book became an artistic phenomenon.

Leafing through illustrated propaganda publications of the twenties and thirties of the last century, we feel not only a feeling of fear and horror, but also admiration. This ambivalence arises every time you open books designed by Lissitzky, Rodchenko, and Telingater. What is the phenomenon of Soviet propaganda printing products? The answer is obvious - time! A time terrible in its fanaticism, but also romantic, a time of unconditional faith and dreams.Later, these posters were banned and removed from storage, because they depicted those leaders who later became enemies of the people.

Alexander Mikhailovich Rodchenko highly valued advertising posters made together with V.V. Mayakovsky. The brothers G. and V. Stenberg have film posters.

2 Stenberg 2. Exhibition

"Poster in the service of the Five Year Plan."

Moscow - Leningrad, 1932. 106x75 cm.

Alexey Gan. First exhibition

Modern Architecture.

Poster. 1927. 107.5x72.5 cm.

There was also a purely Jewish constructivist political and advertising poster. First of all, this was connected with the settlement of Jews on earth and with Jewish pogroms. It was also connected with OZET (Society for Land Management of Jewish Workers) - public organization, which existed in the USSR from 1925 to 1938, and which initially set the goal of settling Soviet Jews through “agrarianization.” Historically, the main sources of food for Jews in Russian Empire there were crafts and small trade. The existence of the Pale of Settlement led to poverty and overcrowding of the masses of the Jewish population in the towns.

Famous poster in constructivist style

"Who is anti-Simite?"

These people, from the rage of the beast,

the dark ones are incited to attack the Jew.

OST edition. Poster No. 2.

Moscow, "Mospoligraph", 1928.

Anti-Semitism is a conscious counter-revolution.

Antisimite is our class enemy.

OST edition. Poster No. 1.

Moscow, "Mospoligraph", 1928.

After the October Revolution and Civil War, the sweeping pogroms and subsequent devastation, traders and artisans turned into class enemies of the new system. According to various sources, from 100 to 200 thousand Jews were killed in pogroms in the period 1918-1920. About two million Jews immigrated from the Russian Empire (including the Kingdom of Poland) to the United States from 1881 to 1915; immigration to Palestine, Argentina, Brazil and other countries was also significant. By the beginning of the 1920s, more than a third of the remaining Jewish population of the USSR found themselves in the category of disenfranchised. A significant part of the Jews left the shtetls in search of work in major cities, but unemployment reigned there too.On January 17, 1925, the Society for Land Management of Jewish Workers (OZET) was created in Moscow, which collected and distributed funds to help settlers and mobilized public opinion, propaganda, organization of general and vocational education, cultural life, medicine for immigrants, interaction with international Jewish organizations. OZET lotteries were held in 1928, 1929, 1931, 1932 and 1933. Numerous posters were produced.

2,000,000 members of the Jewish commune.

Moscow, 1929. 49x69 cm.

Mikhail Dlugach. Jewish farmer

every turn of the tractor wheels

participates in socialist construction.

You will help him!

Second OZET lottery.

Published by CPU "OZET".

Moscow, Sovkino, 1929. 62x47 cm.

Mikhail Dlugach.

Build a socialist Birobidzhan!

Moscow, 1932. 105x69 cm.

Mikhail Dlugach. 5 lottery OZET.

Let's build Birobidzhan,

let's turn it into a model

socialist outpost in the Far East.

OZET publication.

Moscow, 1933. 69x49 cm.

Mikhail Dlugach. 3rd lottery - OZET.

Moscow. 1930. 101x71.3 cm.

Mikhail Dlugach. 4th lottery - OZET.

In the amount of 750,000 rubles.

ticket price 50 kopecks.

Total 40198 winnings.

Build a socialist Birobidzhan -

area of ​​the future Jewish Autonomous Unit.

Moscow, 1932. 69x49 cm.

Mikhail Dlugach. 2nd OZET lottery.

Moscow, 1929. 71.3x108.5 cm.

Mikhail Dlugach. We will give the third OZET lottery

3 million for land development and

industry involvement

new masses of Jewish poor.

Moscow, 1930. 104.3x70.3 cm.

Mikhail Dlugach. Machines, tools, raw materials

can receive:

unemployed, artisans and artisans

through the ORT ferband of the Society of Crafts and

agricultural labor among the Jews of Russia."

Moscow, 1930. 71x107 cm.

A.O. Barsch. Sketch for a poster on the Jewish lottery.

Gouache, ink, paper.

Moscow, 1927. 30x25 cm.

Soviet constructivist political posters were created by many, many artists.

A. Vedeneev. 10 years.

Industrialization is the path to socialism.

Moscow - Leningrad, 1932. 105.5x70.5 cm.

N. Kotov. Construction of socialism.

Moscow - Leningrad, 1932. 72x54 cm.

Sergey Senkin and Dmitry Moor.

Workers of all countries unite!

Long live the great, invincible

the banner of Marx, Engels, Lenin, Stalin!

Long live Leninism!

Moscow, 1932. 93.5x60.5 cm.

A. Deineka. China is on the way

liberation from imperialism.

Moscow - Leningrad, 1930. 72x107.3 cm.

I. Ganf. Religion is the enemy of industrialization.

Moscow - Leningrad, 1930. 102x69 cm.

E. Zernova. Down with the imperialist war.

Moscow - Leningrad, 1930. 103x70 cm.

Long live liberated labor. (c. 1930).

71x106.5 cm.

On International Women's Day

unite, workers of cities and villages.

(c. 1930). 71.3x107 cm.

Mikhail Khazanovsky. At a fast pace

full swing,

for a five-year period of four years.

Moscow - Leningrad, 1930. 108x70 cm.

Nikolai Dolgorukov and Dmitry Moor.

"Soviet power is now

the most durable power of all existing

authorities in the world." (Stalin).

Moscow, 1932. 69x102 cm.

Posters “baked like pies” - young people for campaigning Soviet state no expense was spared:

TsPKiO. August 18. Holiday of Soviet aviation.

Moscow, b.g. 85x61 cm.

A. Bukhovsky. Aerochim Museum named after. M.V. Frunze.

Moscow, b.g. 50x35 cm.

Georgy Rublev. Aviakhim is our protection!

Moscow. b.g. 48x34 cm.

Georgy Rublev. TsPKiO.

The summer hall of factories and collective farms has 1,400 seats.

Season 1932.

Moscow. 1932.

Georgy Rublev. TsPKiO. Winter base

schoolboy and pioneer.

Moscow, 1931. 100x70 cm.

Georgy Rublev. Guys! To fight for the workers' cause -

be ready!

A winter children's camp opens at the Central Park of Culture and Culture

schoolboy and pioneer.

Moscow, 1930. 92x64 cm.

All for the elections of factory committees!

Moscow Provincial Council of Trade Unions.

Moscow, b.g. 105x70.5 cm.

Nikolai Dolgorukov. Metropolitan.

Moscow, 1931. 73x103.5 cm.

All efforts to increase labor productivity.

Moscow - Leningrad, b.g. 107x71 cm.

I.I. Fomina. THE USSR. Leningrad.

Moscow - Leningrad, b.g. 44x30 cm.

Victor Koretsky.

Soviet athletes -

the pride of our country.

Moscow-Leningrad, 1935. 107.5x78.5 cm.

A. Deineka. "Healthy mind

requires healthy body". K. Voroshilov.

Moscow - Leningrad, 1939. 87.5 x 59 cm.

Samokhvalov A.N. Long live the Komsomol!

A young army is replacing the elders.

For the seventh anniversary October revolution. 1924.

Typographical imprint. 93.2x59.6 cm.

Vasily Yolkin.

Long live the Red Army -

armed force proletarian revolution!

Moscow - Leningrad, 1933. 133x86.5 cm.

Vasily Yolkin created a collective portrait of the country's leadership and displayed it on a poster: “Long live the Red Army - an armed detachment of the proletarian revolution!” a grandiose picture of the festive parade on Red Square (1932). In the early 30s, the ranks of followers of constructivist artists were joined by V. Koretsky and V. Gitsevich. They developed a form of poster in which photographs were tinted and combined with hand-drawn images. The poster by V. Gitsevich “For the proletarian park of culture and recreation” (1932) and the sheet by V. Koretsky “Soviet athletes are the pride of our country!” stand out. (1935), which clearly and succinctly reflected the most important ideological guidelines of those years. It should be noted that in the photomontage poster of the mid-30s, G. Klutsis, V. Elkin, S. Senkin, V. Koretsky and other artists abandoned the constructivist experiment with fonts and test blocks, focusing on the image. Poster slogans occupied mainly the place at the bottom of the sheet (G. Klutsis “Long live our happy socialist homeland...”, 1935).

“In painting, painting was replaced by photomontage and other types of posters, which are still needed along with the design of things (industrial production),” - stated on the pages of the “Cinema Magazine” of the Association of Revolutionary Cinematography.“The poster, in the sense of its “mass appeal,” is replacing easel painting,” - wrote the author of the magazine “New Spectator”. “The coming proletarian poster is intended to become a “street painting”... Will we not have “proletarian easel painting” in it?- wondered actual question in the magazine "Soviet Art". And it was answered primarily by the constructivists grouped around the magazine “LEF” and its editor Mayakovsky - A. Rodchenko, V. Stepanova, A. Lavinsky, L. Popova and others, explaining to readers:

“Resolutely rejecting room-museum easel art, “Lefs” fight for posters, illustrations, advertising, photo and film editing, i.e. for such types of utilitarian pictorial art that would be mass-produced, feasible by means of machine technology and closely related to the material life of urban industrial workers.”

Grigory Shegal. Give away kitchen slavery!

Give me a new life!

Poster. 1931. 103x70.5 cm.

Yuri Pimenov. Everything is on display!

Poster. 1928. 108x73 cm.

Consistently embodying these ideas in artistic practice, they created posters that were completely new in style, one of the brightest examples of which was a sheet promoting Rubber Trust products - “There have never been better nipples” (1923). His hero, instead of the traditional and touching image of a baby with a pacifier, whose realistic image always and unmistakably influenced the audience, became a certain “homunculus” constructed from geometric parts, devoid of everything familiar, but nevertheless vividly memorable and striking in its unusualness. The “rekpam-constructors” also geometricized to the utmost the traditional figures of oriental people in dressing gowns, also giving them a huge triangle of galoshes. It stood out effectively against the bright yellow background, contrasting with the red and white colors that set off the graphic script of the Persian text on the sheet, which was dedicated to the export of galoshes (1925).

Sergey Senkin. For multi-million dollar

Leninist Komsomol!

Moscow - Leningrad, 1931. 106x73 cm.

Sergey Senkin. Under the banner of Lenin

for the second five-year plan.

Moscow - Leningrad, 1931. 146x103 cm.

Dmitry Bulanov. We will remove the fields on time.

Moscow-Leningrad, 1930. 102x72.5 cm.

The composition of the poster promoting Mosselprom’s “Trekhgornoe Beer” (1925) also looks very schematic. However, the victory of this drink over the bursting bottles of “hypocrite” and moonshine was ingeniously shown on the sheet with the help of typographic rulers, different-scale fonts and effective coloristic techniques. The basis of A. Lavinsky’s poster “Export-Import of the USSR” (1925) is also a varied font, the “blocks” of which are placed in a complex circular composition. On the sheet, however, there are also pictorial elements - at the top and bottom there are wagons with goods moving on rails, which very clearly and simply explain to the viewer the basis of exports and imports in the country. The same A. Lavinsky created 1925 and a catchy sheet “Accepting subscriptions for 1926” for the State Publishing House (GIZ), the center of which is the graphic logo. Capacious in meaning, it looks laconic, although it is “constructed” from a number of elements - a letter abbreviation, images of a book, a proletarian symbol - a sickle and a hammer, as well as a cogwheel, denoting an element of the machinery beloved by constructivists. Necessary information clearly grouped in the poster composition on planes geometric shape, contrasting in color and giving a visual dynamic effect. Several posters for the State Historical Institute in 1925 were created by V. Mayakovsky in collaboration with V. Stepanova - “The Path to Communism - Books and Knowledge”; “Students, the State Publishing House will deliver all textbooks on time this year”; “Remember GIZ! This brand is a source of knowledge and light.” All of them are devoid of visual elements and, along with the GIZ stamp, the composition of the sheet consists only of letter sets that contrast in scale and color. However, the poster, also invented by Mayakovsky in collaboration with Stepanova, “Only subscribers of “Red Pepper” laugh with all their hearts” (1925) is already enriched with a unique visual detail - a photograph of a laughing young guy. This technique of combining type elements with a photo image was first used in poster compositions by A. Rodchenko, who in 1924 created a sheet dedicated to the newsreel film by Dziga Vertov “Kinoglaz”, and in 1925 - an advertisement for LenGIZ, in which he effectively shaded a black-and-white photo portrait screaming Lily Brik, as if calling on the viewer to buy books. In 1926, A. Lavinsky would create a similar composition on a sheet dedicated to the publication of the State Historical Institute “Working Faculty at Home.” And very soon the installation method born in these constructivist posters will be adopted by the majority of professional and amateur artists in the country.

Victor Koretsky. Free collective farm workers for industry.

Moscow - Leningrad, 1931. 74x104 cm.

Victor Koretsky. Trade unions of the USSR

the vanguard of the world labor movement.

Moscow - Leningrad, 1932. 71x100 cm.

In many book publishing posters created by constructivists in the 1920s, characteristic feature time associated with the development in the country technical progress. The cult of machinery was an important aesthetic attitude of adherents of “industrial art”. He was supported in every possible way by the Lefovites, who called themselves “industrialists”, in advertising of various factory publications. In the poster by V. Mayakovsky and A. Levin, dedicated to a subscription to the newspaper “Working Moscow” (1924), a generalized silhouette of an industrial building with a pipe was drawn, and the basis of the sheet by V. Mayakovsky and A. Rodchenko with an advertisement for the magazine “Smena” (1924) was a composition with a detailed port crane and iron fittings. Constructivists actively included illusory or schematized images of industrial objects, machine tools, and machines in posters, combining them with photographic and font fragments.

Antipenko V. For mechanized coal mining!

Moscow - Leningrad, 1931. 105x72.5 cm.

Nikolai Dolgorukov. Transport worker,

armed with technical knowledge,

fight for the reconstruction of transport!

Moscow - Leningrad, 1931. 104x73 cm.

Yakov Guminer. Arithmetic of the counter industrial financial plan

2+2=5 plus the enthusiasm of the workers.

Moscow - Leningrad, 1931. 90x62 cm.

If the supporters of “industrial art”, who collaborated in LEF, considered the poster as “the most expressive form of ingenuity and skill” and believed that “the role of the master poster artist is quite adequate to the role of the design engineer,” then the champions of traditions in fine arts approached the poster from completely different positions. For example, the famous researcher of Russian graphics, Professor A. Sidorov, demanded to “raise the question of the “aesthetics” of the poster,” in which he primarily appreciated the bright figurative principle inherent the best works past time.

“In the intensifying struggle between figurative and non-figurative art, which we foresee in the near future, the poster and its art will, of course, be one of the most firmly defended citadels of imagery,” - wrote Sidorov, proclaiming the poster to be nothing less than a "modern icon."

Dmitry Bulanov. 5 in 4. Impact work

transport cooperation we will help fulfill

and overfulfillment of the Transportfinplan.

Moscow - Leningrad, 1931. 71x51 cm.

Dmitry Bulanov. Five-year plan

catering L.S.P.O.

Leningrad, 1931. 69x54 cm.

Dmitry Bulanov. Our goal,

raising the cultural level of the worker,

bring the world revolution closer.

Leningrad, 1927. 95x67 cm.

Dmitry Bulanov. From schools and clubs like a hurricane

open fire on the hooligans.

Leningrad, 1929. 67.5x98 cm.

Dmitry Bulanov. Don't break the dishes -

Handle with care

equipment of your dining room.

Moscow - Leningrad, 1931. 77x55 cm.

Born into the family of artisan Morduchai Zalmanovich (Mark Solomonovich) Lisitsky and Sarah Leibovna Lisitskaya in a small village in the Smolensk province. The family soon moved to Vitebsk.

In Smolensk, Lazar Lisitsky graduated from a real school in 1909.

He entered the architectural faculty of the Higher Polytechnic School in Germany and later moved to the Riga Polytechnic Institute, evacuated to Moscow during the First World War in 1914.

In 1916, Lazar Lissitzky began to participate in the work of the Jewish Society for the Encouragement of Arts, including exhibitions in 1917 - 1918 in Moscow. He was engaged in illustrating books published in Yiddish. During the same period, he went on ethnographic trips to Belarus and Lithuania, collecting materials about Jewish decorative art, and traveled to France and Italy.

He graduated from the Riga Polytechnic Institute in 1918 with the title of engineer-architect. In the same year, Lazar Lissitzky became one of the founders of the Culture League ( League of Culture) - an avant-garde artistic and literary association.

Worked in architectural bureau Velikovsky and Klein in Moscow.

In 1919, he signed a contract for the illustration of 11 children's books with the Kyiv publishing house Yiddisher Folks-Farlag ( Jewish People's Publishing House). In the same year, at the invitation of Marc Chagall, he came to Vitebsk to teach at the People's Art School until 1920. He decorated the city for the holidays and participated in the preparation of the celebrations of the Committee to Combat Unemployment, designed books and posters.

In 1920, El Lissitzky began to sign his works with this pseudonym and work in the style of Suprematism under the influence of K. Malevich. He created several propaganda posters in the style of Suprematism.

Later joined State Institute Artistic Culture(INHOOK). The Lenin Tribune project was completed in his workshop.

He began teaching at the Higher Artistic and Technical Workshops (VKHUTEMAS) in 1921 in Moscow. In the same year he left for Germany and later moved to Switzerland.

In 1922–1923, he actively illustrated books from Jewish publishing houses with his graphics while living in Berlin.

In 1923-1925, El Lissitzky was engaged in vertical zoning of urban development, creating projects of “horizontal skyscrapers” for Moscow.

In 1926 he began teaching at the Higher Art and Technical Institute (VKHUTEIN).

In 1927, he created new principles for exhibition exposition as a whole organism, which were implemented at the All-Union Printing Exhibition in Moscow in 1927.

In 1928 – 1929, El Lissitzky was engaged in the creation of transformable and built-in furniture. During this period, he was engaged in photomontage, creating a poster for the “Russian Exhibition” in Zurich in 1929: “Everything for the front! Everything for victory! (Let's have more tanks)."

In 1930-1932, according to the design of El Lissitsky, the printing house of the Ogonyok magazine was built in 1st Samotechny Lane. The printing house building was built on the principle of a “horizontal skyscraper”.

In 1937, a photomontage by El Lissitzky dedicated to the adoption of the Stalinist Constitution was presented in four issues of the magazine “USSR in Construction”.

El Lissitzky died of tuberculosis in 1941 and was buried at the Donskoye Cemetery in Moscow.