Chair for the Pressa Exhibition - El Lissitzky
Archival giclée
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Description
A modernist chair design created by El Lissitzky for the 1928 Pressa Exhibition in Cologne. This piece represents the geometric functionalism of the Soviet Constructivist movement.
El Lissitzky designed this chair, known as the D 62, for the Soviet Pavilion at the International Press Exhibition in Cologne. This event, held in 1928, is commonly referred to as Pressa. Lissitzky acted as the chief designer for the entire Soviet display. He aimed to create a cohesive environment that reflected the industrial and social goals of the Soviet Union.
The chair features a distinctive semi-circular backrest that provides a sense of enclosure for the sitter. Its exterior is finished in black, while the interior surface is white. This contrast emphasises the geometric clarity of the form. The design avoids traditional ornamentation. Instead, it relies on the intersection of simple shapes and the use of modern materials like plywood and leather. The structure is supported by a solid base that continues the circular motif.
Lissitzky was a leading figure in the Constructivist movement. His work often bridged the gap between fine art and architecture. This chair is a practical application of his theories regarding space and object interaction. It was intended for use within the reading rooms and exhibition halls of the pavilion. The design demonstrates how functional objects can be reduced to their essential forms.
The D 62 chair is a significant example of European modernism from the interwar period. It shares aesthetic qualities with contemporary developments at the Bauhaus in Germany. This print captures the sculptural quality of the object against a neutral background. It provides a clear record of Lissitzky's contribution to twentieth-century furniture design. The image is a document of the intersection between political ideology and avant-garde aesthetics in the late 1920s.
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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.
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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
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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
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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
Chair for the Pressa Exhibition - 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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