Four (arithmetic) actions - El Lissitzky
Archival giclée
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Description
A classic example of Constructivist graphic design by El Lissitzky, featuring a bold, geometric arrangement of typography and mathematical symbols.
El Lissitzky, a central figure in the Russian avant-garde, produced this work as part of his graphic design output during the late 1920s. The composition demonstrates his interest in the synthesis of typography, geometry, and political messaging. By utilising a restricted palette of red and black, Lissitzky creates a visual system where numbers and letters function as structural elements rather than mere linguistic symbols.
The work reflects the Constructivist ambition to merge art with social utility. Lissitzky employs a modular approach, arranging geometric forms to suggest human figures and mathematical operations. This method aligns with his broader experiments in photomontage and exhibition design, where he sought to create a universal visual language. The inclusion of Cyrillic text and the abbreviation for the Soviet Union (CCCP) anchors the piece within its specific historical context, yet the formal rigour of the design remains the primary focus.
Visually, the print is characterised by its clean lines and flat application of colour. The arrangement of the red arcs and black bars creates a sense of kinetic energy, typical of Lissitzky's work during this period. The figures, constructed from simple geometric shapes, interact with the mathematical symbols to form a cohesive, albeit abstract, narrative. This piece is an example of how the artist applied the principles of Suprematism to the practical demands of propaganda and information design, treating the page as a space for architectural construction rather than traditional illustration. The balance between the negative space and the bold, graphic elements ensures that the composition remains legible and direct, avoiding unnecessary ornamentation in favour of functional clarity.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
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.
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
Four (arithmetic) actions - 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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