Do not read, grab bars, paper, pieces of wood, fold, paint, build - El Lissitzky
Archival Pigmentdruck
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Beschreibung
A seminal Constructivist graphic work by El Lissitzky, this print serves as an instructional manifesto that encourages active creation over passive reading.
This work by El Lissitzky functions as a manifesto for the Constructivist approach to art and education. Originally appearing in the children's book 'For Reading Out Loud' (Dlya golosa), the composition rejects traditional passive consumption of text. Instead, it demands physical engagement from the viewer. The stark, geometric layout uses a single diagonal line to guide the eye through a series of imperative instructions: do not read, take paper, take bars, take wood, fold, paint, and build.
Lissitzky, a central figure in the Russian avant-garde, sought to bridge the gap between art and industrial production. By stripping away decorative elements, he focuses entirely on the clarity of the message and the structural integrity of the page. The typography is clean and functional, reflecting the artist's belief that the book is an object to be constructed rather than a vessel for static information. The use of negative space and precise alignment creates a sense of order that mirrors the architectural ambitions of the period.
This print captures the intersection of graphic design and pedagogical theory. It encourages the reader to move beyond the page, transforming the act of reading into a tactile experience. The minimalist aesthetic serves the utilitarian purpose of the text, ensuring that the instructions remain immediate and accessible. As a piece of graphic history, it represents the shift toward modernism, where the arrangement of type and line carries as much weight as the words themselves. It is a direct appeal to the creative potential of the individual, urging them to participate in the physical creation of their environment.
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Versand
Wir versenden weltweit und drucken im Produktionszentrum in der Nähe Ihrer Lieferadresse. Lieferzeiten und -kosten variieren je nach Zielort – die Ihnen zur Verfügung stehenden Optionen werden Ihnen an der Kasse angezeigt.
Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
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
Do not read, grab bars, paper, pieces of wood, fold, paint, build - 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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