Puny Lissitzky - a kind of transitional stage - from the ordinary artist to Malevich. They are a game with geometric figures, the art is complex and based on the search for the source. Ultimately, everything is a geometric shape, arbitrarily connected to each other. The head is a ball, on a plane is a circle. A house is a square.
The human body includes ovals, triangles, circles. Everything initially comes out of geometry - this is evidenced even by the fact that young artists are taught, before drawing an object in all its three-dimensional beauty, to first mark out the geometric base. Make the head a ball, neck an oval, the body an elongated trapezoid with rounded corners, and only when the figure is ready, build from it a three-dimensional woman or three-dimensional man.
Prounes are the search for the root cause, the purification of painting from all cultural layers, its peculiar liberation. As cubists went from three-dimensional realistic images to images of planes, and then one plane filled with geometric shapes, and then back, so Lissitzky went their own way.
However, if the cubists, having gone their own way, returned to realism, enriched by otherworldly knowledge of geometry, then Lissitzky did not return anywhere, but went to the junction of painting and architecture. His passages became not just a game with geometric figures, but plans for nonexistent buildings, surrealistic resemblances to existing reality. So there is the “Bridge” proone and the “City” proone.
However, Proun does not apply to them - it represents the artist’s early experiments, when he had not yet invested in games with three-dimensionality in paintings, but was saturated with simple geometry. A circular proun, inscribing squares and triangles, hangs in a single cosmic space and it is beautiful with its playful emptiness and lack of attachment to any physical objects.
David the Death of Marat