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Lazar Markovich Khidekel (Vitebsk 1904 – Leningrad 1986), artist, designer, visionary architect and theoretician, belongs to the titans of Russian Avant-garde of the early twentieth century, particularly of the Suprematist movement. As an exception, Marc Chagall admitted Lazar Khidekel to the Vitebsk Art School, despite his young age. A year later, in 1919, Lazar has participated in the famous Vitebsk Exhibit of Moscow and Vitebsk artists along with the luminaries such as Marc Chagall, Mikhail Larionov, Wassily Kandinsky, Kazimir Malevich, Lyubov Popova, Alexandra Exter, among others. Having studied painting, drawing and architecture with Chagall, Dobuzhinsky, and Lissitzky, as well as Suprematism with Malevich, Khidekel became one of the founders of the group UNOVIS - Affirmers of New Art led by Malevich and one of a few of Malevich's students, along with Ilya Chashnik and Nikolai Suetin, who deeply embraced Suprematist style and philosophy, and constituted the nucleus of genuine followers who soon become into their master's partners and assistants. By developing Suprematist ideas, Khidekel early defined his personal approach to Suprematist canon, introducing his own Suprematist painterly idioms, forms, ideas, and thoughts. Rapid maturation of Lazar Khidekel’s creative approach during the vital years of 1919 -1922 at Vitebsk Art School, defined his role in developing Suprematism’s inherent potential in painting and architecture. Elaborating conceptual approach and crossing disciplinary divide, Khidekel's contribution was critical in extricating from two-dimensional Suprematist shape to its three-dimensional, spatial expression,and as noted Maria Kokkori, Khidekel was distinguished by drawing buildings and building drawings. In 1921, after El Lissitzky left for Moscow, Khidekel and his classmate Ilya Chashnik headed the Architecture and Technical Department of the Vitebsk Art School. Inspired by his artistic imagination, Khidekel developed a lifelong fascination with visionary and imaginary architecture that he knew could only become a reality in the distant future. He played an important role in Suprematism’s historical development by applying its precepts to both practical architectural projects and imaginary floating structures for the future. He was instrumental in the transition from planar Suprematism to volumetric Suprematism, creating axonometric projections (The Aero-club: Horizontal architecton, 1922–23), making three-dimensional models, such as the architectons, designing objects (model of an "Ashtray", 1922–23), and producing the first Suprematist architectural project (The Workers’ Club, 1926). In the mid-1920s, he began his journey into the realm of visionary architecture. Directly inspired by Suprematism and its notion of an organic form-creation continuum, he explored new philosophical, scientific and technological futuristic approaches, and proposed innovative solutions for the creation of new urban environments, where people would live in harmony with nature and would be protected from man-made and natural disasters (his still topical proposal for flood protection - the City on the Water, 1925, etc.). In 1926, while a student of the Architectural College (PIGI) in Petrograd, he created the first real Suprematist architectural project. His immense influence on the students and professors of PIGI resulted in a series of collaborative works with his professors A.S. Nikolsky and G. Simonov that defined Lazar Khidekel’s groundbreaking role in developing Suprematist and Constructivist-Suprematist style as an ultimate trend of the Leningrad avant-garde architecture of mid 1920’s - early 1930’s. In the mid 1920s he envisioned his projects of the futurist cities such as Aero-city, Garden-city, City on the Poles and on the Water, that firstly young Lazar Khidekel defined in his 1920 hand lithographed manifesto “AERO. Articles and Projects”. In this publication Lazar defined new social and aesthetic approaches and solutions to the issues of the ecological impact on the environment produced by the modern industrial civilization. He was the only architect from Malevich's group who completed innovative ideas in the building of residential complexes, theaters, movie-houses, and in drafting plans for new forms of skyscrapers. In the middle of the 1920s Khidekel was exploring specialized projects of buildings for a new way of life, the communal housing in Suprematist style, as well as he was the first in the 20’s century to create projects of futuristic cities. http://www.timelinesdb.com 1986 Lazar Khidekel (b.1904), Russian artist and architect, died. He sustained a radical utopian vision and avant-garde aesthetic during decades of Soviet control of cultural production. (SFC, 2/22/05, p.E1) Categories: | Russian artists | Russian architects Suprematism | Russian Avant-garde | Modern artists | 1904 births | 1986 deaths | Visionary architect | Futuristic cities LAZAR KHIDEKEL archives, unique by its entirety embracing more than six decades of work from 1918 to the 1970s. The archives had been never part. They survived WW2 with the siege of Leningrad and the repressive Stalinist era. The collection includes hundreds of works of art in Suprematist style, architectural drawings, plans, drafts, blueprints, and photographs. Along with Lazar Khidekel's theoretical manuscripts (dated as early as 1920 and written under Kazimir Malevich's influence), professional letters, including letters from El Lissitzky (1920) and Ilya Chashnik (1921), personal documents, and photographs, there is a solid body of historical material such as art publications including lithographic issues of the UNOVIS Suprematist group in Vitebsk, book and articles of Kazimir Malevich (1920–1922), Lazar Khidekel and Ilya Chashnik hand made book "Aero" (1920), one of Russian avant-garde mysterious rarities. Some of these unique materials such as "Aero" or letters to El Lissitzky and Ylya Chashnik had been never reproduced (some in their entirety). 1. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Lazar Khidekel」の詳細全文を読む スポンサード リンク
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