El Lissitzky Beat the Whites Constructivist

Restyle the source image as a 1919 to 1925 Soviet constructivist and suprematist propaganda poster aesthetic, in the visual register of El Lissitzky (Beat the Whites with the Red Wedge, 1919; Of Two Squares, 1922), Alexander Rodchenko's photomontage posters, Gustav Klutsis, and Lyubov Popova. Render as a hand-printed lithograph or linocut on coarse cream poster paper, with the deliberate roughness of early Soviet printing. Palette is severely restricted: pure cadmium red, dense ink black, raw cream paper ground, occasionally one accent of cobalt blue or charcoal grey. No gradients, no halftones, no shading. Forms are reduced to pure geometric primitives: triangles, circles, squares, rectangles, diagonal wedges, arrayed in dynamic asymmetric composition with hard diagonal thrust lines, geometric collision, axes that conflict. Photomontage elements (if any) are high-contrast black-and-white photographic fragments cut and combined with the geometric shapes. Typography zones are present in the composition as solid black or red rectangular blocks positioned at sharp angles, but render these zones empty: no letterforms, no kerned type, no Cyrillic script, no slogans, no dates, no signatures. Forbid all regime-specific symbols absolutely: no hammer and sickle, no Red Army star, no Bolshevik party insignia, no Soviet state crest, no portrait of any political leader, no historical regime mottoes. The aesthetic is pure constructivist abstraction (geometric collision, color severity, diagonal violence) without literal political markers. Preserve the exact subjects, faces, poses, gestures, and spatial arrangement of the source image without alteration; restyle the rendering only.