The second volume is devoted entirely to, perhaps, the most famous section of the artist's work - PROUNI (PROUNI - approval of a new project). This avant-garde work of El Lissitzky, resulting from active creative interaction with Malevich and Suprematism constitute a particular direction.

2-85. Proun. Sketch panel "Rosa Luxemburg", 1919-20, pencil, gouache, 52h50, Van Abbe Museum, Eindhoven.
2-89. Proun 23 (option), 1919-20, oil on cardboard, 45,5 x65, private collection.
2-97. Proun 12e, 1923 (?), Oil on canvas, 57,1 x42, 5, Bush-Reisinger Museum at Harvard University.
2-108. Proun 190. Beginning. 1920, plywood, canvas, mixed technique, collage, 97,5 h97, 5, Museum of Modern Art, New York.
2-112. Proun with celluloid triangle (option PROUNI G7). Ok. 1922, canvas, watercolor, charcoal, collage, 47,9 x39, Stedeliyk Museum, Amsterdam.

The third volume covers the period of El Lissitzky in the first half of the twenties in Germany, Holland and Switzerland, where the artist has become one of the most authoritative representatives of the European avant-garde, while maintaining close ties with Russia's innovators.

3-77. Cover of the book "Suprematism tale about 2 squares", 1922, Berlin.
3-87. Footballer. Unpublished illustration for the book Ehrenburg "6 tales of light ends", 1922, paper, ink, gouache, pencil, varnish, collage, 33h24, 2, GTG.
3-97. Cover Page folder Figurin, 1923, color lithograph, 53,3 x45, 5, GTG.
3-125. Self-Portrait "Design", 1924, picture, 19,3 x21, 2, GTG.
3-128. Portrait of Hans Arp, 1924, repeated exposure, 18h12, 9, Berinson gallery, Berlin.

Добавлено через 8 минут
The fourth volume tells of the numerous experiments of the artist in the field of design, photography, printing, advertising, after returning to the USSR during the second half of the twenties.

4-73. Sketch of the poster exhibition "Lissitzky, Mondrian, Man Ray, 1925, graph paper, ink, pencil, collage, 19,3 x24, 2, GTG.
4-77. Horizontal skyscraper, 1924-25, photomontage, 39,8 x55, 6, RGALI.
4-111. Begun (record), approx. 1926, picture, 27h22, a collection of Thomas Walter.
4-117. Dummy ok.1928, photogram, negative print, 29,1 x23, 5, RGALI.
4-127. Sketch book covers Kruchenykh "trans-rational", 1925, ink, gouache, 16,3 x12, 6, Stedeliyk Museum, Amsterdam.

Добавлено через 6 минут
The fifth volume is devoted to the last period of life and work of El Lissitzky in an atmosphere of strong pressure of political censorship of pre-war decades.

5-96. Album Cover "Soviet Subtropics, 1935, Moscow.
5-97. Band album, "Soviet Subtropics", 1935, Moscow.
5-99. Cover of magazine "At the construction of the MTS and state farms», № 4, 1934.
5-104. Sketch of the band album, "Food Industry", 1936, ink, gouache, collage, 36h27, private collection.
5-119. Cover of the magazine "USSR in Construction», № 2-3, 1940 ( "The accession of the Western Ukraine and Western Belorussia to the USSR").

Note the last picture did not remind you of?

The fourth volume tells of the numerous experiments of the artist in the field of design, photography, printing, advertising, after returning to the USSR during the second half of the twenties.

4-73. Sketch of the poster exhibition "Lissitzky, Mondrian, Man Ray, 1925, graph paper, ink, pencil, collage, 19,3 x24, 2, GTG.
4-77. Horizontal skyscraper, 1924-25, photomontage, 39,8 x55, 6, RGALI.
4-111. Begun (record), approx. 1926, picture, 27h22, a collection of Thomas Walter.
4-117. Dummy ok.1928, photogram, negative print, 29,1 x23, 5, RGALI.
4-127. Sketch Kruchenykh cover of the book "trans-rational", 1925, ink, gouache, 16,3 x12, 6, Stedeliyk Museum, Amsterdam.

The fifth volume is devoted to the last period of life and work of El Lissitzky in an atmosphere of strong pressure of political censorship of pre-war decades.

5-96. Album Cover "Soviet Subtropics, 1935, Moscow.
5-97. Band album, "Soviet Subtropics", 1935, Moscow.
5-99. Cover of magazine "At the construction of the MTS and state farms», № 4, 1934.
5-104. Sketch of the band album, "Food Industry", 1936, ink, gouache, collage, 36h27, private collection.
5-119. Cover of the magazine "USSR in Construction», № 2-3, 1940 ( "The accession of the Western Ukraine and Western Belorussia to the USSR").

Note the last picture did not remind you of?

How, how ...
"Kissing Policemen" so frightened by the presence of the Minister for his possible Solovyov. Or Sokolova?
That's exactly it will be remembered makes it possible for these policemen.

Qwerty, congratulations! One would like to add: "Read, envy ..."
In fact, you want to add, in the first place - that is the first! this monograph on Lisitskaya published in Russia (directory level), and secondly, the very publication represents a product of book design in the best traditions of "the idea of designing the book" Lissitzky.

Добавлено через 1 час 42 минуты
Here's how plezno write messages to the forum: I was looking for an illustration of the History of Art "and found an illustration of the sobstvennmu old post about the Russian avant-garde.

Vladimir Burliuk, unlike his brother David, the artist is unknown, but it was a famous avant-garde.
At the meeting, VA Dudakova have Rabten Vladimir Burliuk 1912, which, although later, the wave reflects his experiences with squares and dots.

Here's how it is useful to write messages to the forum: I was looking for an illustration of the History of Art "and found an illustration of his own old post.

Vladimir Burliuk, unlike his brother David, the artist is unknown, but it was a famous avant-garde.
At the meeting, VA Dudakova is (or was) the work of Vladimir Burliuk 1912, which, although later, the wave reflects his experiences with squares and dots.

Qwerty, I hope, "traditionally" tell me what's remarkable about exhibiting at the Salon?

On Sovkome March 2 will canvas A. Rudnitskogo ( "Still Life with Guitar, 1920, Lot 73). Anyone know anything about the artist?

Allena, have tried to find out: http://forum.artinvestment.ru/showthread.php?t=60851
No one said anything.
It should be in the gallery 2.36 posprashivab, this thing they exhibited at the Autumn Salon of the 8 th year: