The 1910s are remarkable for the birth of Russian avant-garde striving to transfigure the very basics of art up to negation of art itself. A whole range of artists and art groups create new schools and trends which come to determine the development of the world art - these are suprematism (K.Malevich), improvisational style and abstractionism (V.Kandinsky), rayonism (Larionov), etc. Among the other artists, more difficult to classify or to "compartmentalize," were Filonov, and Chagall (the founder of expressionism); they stood apart from the rest not so much because of the essential direction of their works as because of their methods and particular sources of inspiration. Embodied in the rise and fall of these artistic currents, "the idea of renewal of art as a socially active force" remained strong and served as a unifying factor for the artists of the Russian avant-garde. Lots of avant-gardists went on their work in the Soviet Russia, yet many went abroad The 1920s saw the expansion of constructivism (V.Tatlin) that put forward the task of constructing material space for creation of logical and functional forms. At the same time the aesthetic and social principles of avant-garde undergo transformation - now the artists reveal their interest in life and ambitions to rebuild it with artistic means.
Sculpture in these years is no more identified with the plastics, showing the tendency to render the sculptural character of mechanical forms. The contrast between plasticity and geometric forms blends, thus disclosing unheard opportunities for industrial design. 
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