The Russian Avant Garde began in Russia in about 1915 It was the year that Malevich revealed his Suprematist compositions that reduced painting to total abstraction. and rid the pictures of any reference whatsoever to the visual world. He is credited with being the first artist to do this; that is, forsake the visual world for a world of pure feeling and sensation. This was the first movement originated by Russians and the birth of several other Avant Garde movements. Probably the most popular piece at his 1915 exhibition was "BLACK SQUARE" (real name "suprematist composition". It's basically a black square on a slightly larger white square that forms a border around it. It was hung in the exhibition in the way an icon would be hung in a peasant's home; ie top corner of the room. Malevich saw Suprematism as representing a yearning for space, an impulse to break free from the globe of the earth. It a spirit, a spirituality that went beyond anything before it.

Among Malevich's students and contemporaries were such names as El Lissitzsky, Alexsandr Rodchenko and Vladimir Tatlin who were, of course,

Rodchenko was proud of the fact that the leftist artists had been the first to come to work with the Bolshevik comrades. There was a Constructivist manifesto released in 1922,( when Constructivism had reached its Zenith and had started ever so slowly to decline,) stating that the movement as a whole was "trying to build the intellectual material production of Communist culture". The general mood among the Avant Garde was one of completely embracing the Bolshevik ideal. Perhaps this is why they were given so much freedom. From all accounts, the leftist artists felt very supported by the government. According to a letter written at the time by a friend of several of the artists, all of the young artists, no matter how innovative or experimental were taken seriously. They spoke about being able to realise their dreams, and they were grateful that neither politics nor power intruded into their work. They felt it was the first time most of them had been given the opportunity to do everything they wanted in their own field. A boyish dream, perhaps, but it must have been extremely liberating. They ran with their new ideas for a while and then got down to the work of helping the revolution through art.

The fact that most of the population was unable to read a political pamphlet created some problems. Posters with pictorial messages became essential to the mass communication system. By the 1920s, Constructivism became the dominant art primarily because they were able to fuse poster art with fine art and make it accessible to the masses. The Suprematists did print a few abstract posters like El Lissitsky's 1919 poster. .BEAT THE WHITES WITH THE RED WEDGE but they had nowhere near the propaganda power of Tatlin's boys.

By 1921 Constructivism had reached its Zenith and had slowly started a decline that would last another nine years or so until the Stalinist purge of artists began. Their popularity didn't diminish very much but the punchiness of their art which was vital at the start of the revolution was no longer needed as much. The fist world war was over, the revolutionary government were now the official state line and the emphasis changed from War propaganda and monuments to posters promoting the new economic policy and the bourgeoning soviet cinema industry. Constructivist art turned its attention to the people as humans, not as units for the revolution. They started making functional art for the civil sector. George and Vladimir Sternberg were Constructivists who became widely recognised during this period. They designed economic policy posters similar to Rodchenko and Lissitzky but their real fame came through film poster designs. The Russian film industry was becoming very experimental and radical through such people as Eisenstein and Vertov and the Sternerg brothers naturally followed suite. They

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Approximate Word count = 1906
Approximate Pages = 8 (250 words per page double spaced)