A lithograph by El Lissitzky from his 1923 'Figurines' portfolio, depicting a character from the opera 'Victory Over the Sun' through abstract geometry.

This lithograph originates from the 1923 portfolio 'Figurines', which El Lissitzky produced to document his designs for the opera 'Victory Over the Sun'. The original production of this futurist opera, staged in 1913, sought to dismantle traditional theatrical conventions through a synthesis of abstract geometry and mechanical movement. Lissitzky reinterpreted these characters as 'electromechanical' entities, stripping away human anatomy in favour of pure form.

In this specific plate, the figure is reduced to a series of intersecting planes and lines. The composition relies on a stark interplay between solid black blocks, a prominent yellow diagonal, and a delicate orange arc. These elements suggest a body in motion, yet the representation remains entirely non-representational. The small, circular head is positioned at the periphery, connected to the larger geometric mass by a thin, curved line. This creates a sense of spatial tension, as if the figure is caught in a state of mechanical collapse or reconfiguration.

Lissitzky applied the principles of Suprematism to the stage, treating the theatrical space as a canvas for floating, weightless shapes. The lithographic process allows for flat, precise colour application, which reinforces the industrial aesthetic of the work. By removing the organic qualities of the human form, Lissitzky aimed to create a universal language of design that transcended individual identity. The work reflects the optimism of the early Soviet avant-garde, where technology and art were seen as tools for constructing a new reality. The clean lines and balanced distribution of weight demonstrate his mastery of graphic composition, turning a theatrical costume study into a rigorous exercise in spatial logic.