An iconic example of 20th-century Constructivism, Proun 12E reveals Lissitzky's preoccupation with 'faktura' (an object's material qualities that demonstrates how it was made).

Proun 12E is remarkable for how its colours and forms appear to emerge and recede while remaining perfectly balanced.

Subtle gradations and precise shapes create depth and dimension, only to be neutralised by spots of colour that emphasise the flatness of the canvas.

Despite the work's exact geometry, the human touch is preserved, ironically, through a systematic approach to colour, shape and line.

Lissitzky painted each shape in a way that left deliberate traces of the artist's hand. The white quadrilaterals were formed using heavy oil paint that Lissitzky smoothed with a palette knife, giving them a sense of volume and depth. Meanwhile, the other shapes were methodically painted in stages to avoid overlapping.

In contrast to the grey watercolour-like planes and the flat red and black objects, the white shapes anchor the composition, drawing attention to differences between the elements.

In allocating each element a discrete form, space, and colour, Lissitzky is thus able to emphasise their individual faktura and, consequently, the faktura of the work as a whole.

Photos via Harvard Art Museums.