91:
22:
108:
188:. Lissitzky never mentioned the manifesto, but his friend and colleague Malevich met Marinetti in 1914, and even called him one of the "two pillars, the two 'prisms' of the new art of the twentieth century". Malevich was also well aware of the Italian Futurists works and of Boccioni's theories. In 1916–1917 Malevich, together with artists
208:
monument in Moscow. It "consisted of a red triangle vertically inserted as a wedge into a white rectangular block. A very visible crack snakes downward from the tip of the triangle, suggesting that the force of the red wedge has succeeded in breaking the solidity of the white structure. The abstract
228:
is a heretic – a Jew who does not believe in revelation and negates traditional religion and will therefore not have a share in the world to come and is bound for eternal damnation. In
Yiddish, this word is often used to describe someone who has opinions that contradict the orthodox doctrine.
282:
used the artwork for their twelve-inch single "Something
Outside" in 1983. A similar simplified version (rotated 1/4 turn clockwise) was appropriated by the German post-punk band Mekanik Destruktiw Komandoh (MDK) for their 1983 12" single "Berlin", released on the sixth international label.
229:
Lissitzky suggests here that a revolution requires sacrifice and transformations in the name of the new, better world." He also noted that
Lissitzky believed in the forces of Revolution and combined it with a messianic elements of Judaism, writing:
233:
The educated were expecting the 'new era' to arrive in the shape of a
Messiah ... mounted on a white horse. But ... it came in the shape of Russian Ivan ...in tattered and dirty clothes, barefoot ... only the youngest generation recognized this
356:
is a game based on
Lissitzky's propaganda posters from 1919. It was developed in 2015 and uses paper-cuts as a medium. In the game "you play as the red wedge and must recreate its violent assault on the white circle to complete each level".
76:
The image gained popularity in the West upon
Lissitzky's migration to Germany in 1921. It is considered symbolic of the Russian Civil War in Western publications, and is often used in album art and advertisements.
209:
metaphor was intended to signify the victory of the Red Army over the White, counter-Revolutionary forces." The monument initially was erected as a symbol of victory over White general
131:, which was mainly fought between the "Reds" (communists, socialists and revolutionaries) and the "Whites" (monarchists, conservatives, liberals and other socialists who opposed the
645:
472:
164:
286:
Several German-speaking
Marxist organizations are using a simplified version of the poster for their logo, among them the German/Austrian/Swiss section of the
155:
669:
318:
produced an "Anti-Lissitzky" series between 1991 and 1995 which included several derivative works based on "Beat the Whites with the Red Wedge".
837:
609:
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and
Futurism. Later, in 1918, Malevich wrote: "Cubism and Futurism are the revolutionary banners of art". Also in 1918, young architect
480:
857:
821:
798:
747:
719:
308:
213:, an important early triump of the Red Army. Versari argues that Lissitzky "adopted an almost identical language" for his
925:
623:
920:
869:"Avant-garde Iconographies of Combat: From the "Futurist Synthesis of War" to "Beat the Whites with the Red Wedge""
297:
593:
287:
151:
declared that the "painting was not invented for decorating houses, but as a weapon of attack and defence".
127:
is one of the most famous works by
Lissitzky. Lissitzky made it in 1919, when Russia was going through a
845:
144:
915:
333:
269:
250:
688:
169:
542:
274:
293:
135:). The name can also be derived from antisemitic pogrom slogan "Beat the Jews!" ("Bej zhidov!"
737:
709:
777:
132:
8:
910:
220:
Lissitzky later used similar idea, a wedge in a circle, for a cover of
Yiddish magazine
888:
831:
279:
791:
Malevich and interwar modernism : Russian art and the international of the square
880:
853:
817:
794:
743:
715:
589:
303:
The logo and the name was used by a socialist music and arts organisation in the UK,
245:
128:
70:
810:"El Lissitzky, his Beat the Whites with the Red Wedge and their Jewish Inspirations"
560:
339:
The poster was drawn as hanging on a wall in a 1995 poster created by Gabor Baksay.
173:
159:
136:
107:
37:
689:"Iconic 20th century art is being turned into a series of experimental videogames"
670:"Be the Bolshevik Wedge in a Game Inspired by El Lissitzky's 1919 Propaganda Art"
453:(info:eu-repo/semantics/doctoralThesis) (in Croatian). Zadar: Sveučilište u Zadru
325:, the Peacekeeper faction uses a simplified version of the poster as their logo.
189:
90:
781:
66:
177:
904:
884:
771:
315:
210:
201:
193:
181:
148:
433:
Lissitzky-Küppers 1992: 331, quoted after: Apter-Gabriel 1988: 118 cited in
21:
610:"Belarusian football team releases new kit inspired by avant-garde artwork"
518:
448:
58:
54:
51:
343:
307:, which campaigned against the Thatcher government in the lead up to the
892:
868:
642:"Авангардные плакаты с красным клином зовут новосибирцев на вакцинацию"
329:
265:
185:
62:
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Spomenici iz razdoblja socijalizma u Hrvatskoj – prijedlog tipologije
304:
272:
employ the red wedge motif in the artwork accompanying their 1982 EP
809:
347:
342:
In September 2021, a modified version of this painting was used in
322:
254:
258:
197:
391:
296:
used the image as inspiration for the cover of their single "
812:. In Flamm, Christoph; Keazor, Henry; Marti, Roland (eds.).
708:
Christophe, Duret; Christian-Marie, Pons (16 June 2016).
707:
415:
65:, who are penetrating and defeating their opponents, the
61:. In the poster, the intrusive red wedge symbolizes the
711:
Contemporary Research on Intertextuality in Video Games
494:
473:"• The Design Appropriations of Punk and the New Wave"
379:
290:("Der Funke") and "Gruppen gegen Kapital und Nation".
367:
168:, published in 20,000 copies in 1914, and signed by
814:Russian Emigre Culture: Conservatism or Evolution?
403:
844:
624:"Beim nächsten Werbeblock hau ich dir eine rein!"
397:
902:
261:, seems to be directly inspired by this poster.
45:
446:
836:: CS1 maint: location missing publisher (
196:, published two issues of a journal about
807:
434:
421:
224:('Atheist'). As Artur Kamczycki writes, "
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736:Totten, Christopher W. (27 March 2017).
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20:
866:
788:
739:Level Design: Processes and Experiences
409:
373:
903:
735:
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249:to the fallen fighters and victims of
667:
588:. Titan Books. 2000. pp. 27–28.
586:Farscape: the Illustrated Companion
346:to promote vaccination against the
13:
850:El Lissitzky. Life, Letters, Texts
793:. London: Bloomsbury Visual Arts.
519:"Gruppen gegen Kapital und Nation"
215:Beat the Whites with the Red Wedge
158:connected Lissitzky's poster with
125:Beat the Whites with the Red Wedge
33:Beat the Whites with the Red Wedge
26:Beat the Whites with the Red Wedge
14:
937:
816:. Cambridge Scholars Publishing.
321:In the science-fiction TV series
714:. IGI Global. pp. 178–180.
217:, though he never mentioned it.
106:
89:
776:(PhD thesis). Yale University.
742:. CRC Press. pp. 332–335.
659:
648:from the original on 2022-01-04
634:
616:
602:
578:
535:
511:
770:Birnholz, Alan Curtis (1974).
668:Meier, Allison (15 May 2015).
487:
465:
440:
427:
288:International Marxist Tendency
1:
867:Versari, Maria Elena (2015).
360:
336:featuring the image in 2020.
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523:gegen-kapital-und-nation.org
7:
447:Horvatinčić, Sanja (2017).
46:
10:
942:
926:Suprematism (art movement)
762:
644:(in Russian). 2021-09-07.
80:
47:Klinom krasnym bey belykh!
921:Soviet propaganda posters
846:Lissitzky-Küppers, Sophie
808:Kamczycki, Artur (2013).
328:Belarusian football team
170:Filippo Tommaso Marinetti
165:Futurist Synthesis of War
140:
97:Futurist Synthesis of War
42:Клином красным бей белых!
41:
693:Kill Screen - Previously
145:Sophie Lissitzky-Küppers
873:Annali d'Italianistica
561:"Sergey Bugaev-Afrika"
543:"F2 — Franz Ferdinand"
398:Lissitzky-Küppers 1980
236:
28:
16:Poster by El Lissitzky
852:. Thames and Hudson.
789:Forgács, Éva (2022).
309:1987 general election
231:
57:propaganda poster by
24:
133:Bolshevik Revolution
354:Lissitzky's Revenge
314:The Russian artist
270:Witchfinder General
156:Maria Elena Versari
547:Band Logo Juke Box
477:implica.tumblr.com
29:
916:Russian Civil War
859:978-0-500-23090-9
823:978-1-4438-5152-7
800:978-1-350-20417-1
749:978-1-315-31340-5
721:978-1-5225-0478-8
437:, pp. 92–94)
424:, pp. 92–94.
246:Slabinja Monument
71:Russian Civil War
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160:Italian Futurism
143:). According to
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275:Soviet Invasion
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190:Alexandra Exter
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695:. 9 April 2015
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628:www.emuseum.ch
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486:
483:on 2016-10-06.
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422:Kamczycki 2013
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402:
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388:, p. 113.
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154:Art historian
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105:
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67:White movement
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674:Hyperallergic
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549:. 2020-05-20.
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400:, p. 21.
399:
394:
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386:Birnholz 1974
382:
376:, p. 49.
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316:Sergei Bugaev
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211:Pyotr Krasnov
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206:The Red Wedge
203:
202:Nikolai Kolli
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195:
194:Olga Rozanova
191:
187:
183:
182:Luigi Russolo
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149:Pablo Picasso
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115:The Red Wedge
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69:, during the
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773:El Lissitzky
772:
738:
725:. Retrieved
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697:. Retrieved
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677:. Retrieved
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650:. Retrieved
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604:
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568:. Retrieved
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526:. Retrieved
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502:. Retrieved
498:
489:
481:the original
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455:. Retrieved
449:
442:
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410:Versari 2015
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374:Forgács 2022
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59:El Lissitzky
52:lithographic
50:) is a 1919
32:
31:
30:
25:
18:
879:: 187–204.
499:derfunke.at
495:"Der Funke"
344:Novosibirsk
332:released a
178:Carlo Carrà
911:1919 works
905:Categories
727:4 December
699:4 December
679:4 December
652:2022-01-04
595:1840231785
528:2020-06-16
504:2020-06-16
361:References
330:FC Vitebsk
266:doom metal
239:Modern use
186:Ugo Piatti
162:manifesto
147:, in 1945
141:Бей жидов!
63:Bolsheviks
885:0741-7527
832:cite book
782:302668778
305:Red Wedge
298:This Fire
226:Apikojres
222:Apikojres
129:civil war
55:Bolshevik
893:43894801
848:(1980).
778:ProQuest
646:Archived
570:24 March
348:COVID-19
323:Farscape
280:The Wake
264:English
255:Slabinja
204:created
763:Sources
457:26 June
259:Croatia
137:Russian
81:History
38:Russian
891:
883:
856:
820:
797:
780:
746:
718:
592:
565:VLADEY
278:, and
198:Cubism
184:, and
117:, 1918
99:, 1914
889:JSTOR
268:band
253:from
881:ISSN
854:ISBN
838:link
818:ISBN
795:ISBN
744:ISBN
729:2022
716:ISBN
701:2022
681:2022
590:ISBN
572:2021
459:2018
243:The
192:and
334:kit
300:".
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
