In 1919, Vitatline (1885-1953) declared that Suprematism was "the sum of all the mistakes of the past", it expresses its opposition to personal and ideological Malevich. Disciple Larianov, marked by a structured and whose colorful expressionism was not unconnected with the interest in traditional icons. Tatlin had an adventurous youth who took him to Paris in 1913, there admiring the buildings raised by Picasso, based on their own "counter-reliefs" which, with experiences of materials and applications in the corners of rooms, modifying its spatiality, created the constructivist movement in 1927, enriched by a new flying machine invented organic, "Latatlin" - but especially in 1919-20, the project of the monument to the Third International, we already know helical construction of a fleeting expression "Komfuturism. Artistic animator, teacher, victorious defender of the principle of "production art" against the "art lab" (which represented Suprematism) a "productivist" politicized, proclaimed in 1921, with rejection of easel painting, and that led to his craft, poster, the theatrical decor already practiced in youth (and who was prominent field of action of his movement, thanks primarily to the enactments (V. Mayerhold) - none of this prevented the misfortune of Tatlin, compared to the realism in the official 30 years. The his part, Mr Rodechenko (1881-1956), coming more or less of futurism, the author of geometric designs consisting of animated games curves made in step, methodically (1915-16), and a painting "Black on black," presented polemically against Malevich in 1919, he practiced construction surprises, mobile and linear metal with which participated in 1917, with Tatlin and the disciple of G. Yakulov at the famous Coffee Pitoresque decor, lively artistic center of Moscow, in these years fermentation. Reduced, like Tatlin, applied arts and design, "he devoted himself to photomontage and typesetting. In these areas stood out El Lissitzky (1890 - 1941), engineer and architect, for that matter, a disciple of Malevich, who went from Suprematism to constructivism, the "History of two squares" (1922) and their "prouns”, geometric constructions in space, originally painted. In large photomontage, made the decoration of the Soviet pavilion at the International Exhibition of Printing, Cologne, 1930 - and so too, as in 1920-24, the famous “Lenin Tribune”, we have seen, represented the dictator of an imaginary construction of the high iron. In 1926, El Lissitzky wrote the interior architecture of the "abstract case" to the International Exhibition in Dresden, which he considered his major work. Schwittors friend and collaborator and Arp, and V. Doesbourg, related to the "Bauhaus", as we know, it was for you to connect more regularly between the Russian and the current world West over the years 20.