These were years of ferment within the framework of the Soviet revolution in plant heritage by baking a politicized before, we observe - as we have seen its impact on architecture. The Department of Plastic Arts of the People's Commissariat for Education, IZO, Lucacharsky excited by the workshops free Svonsas, which replaced the Academy of St Petersburg in 1918 and professed where Malevich, as in the UNOVIS Vitebok, Institutes of Culture Arts, here in Moscow, the Inkhuk where Kandinsky taught in 1920, passing away To the "Bauhaus" since losing its tendency, and Suprematism and Constructivism where doctrines were necessary, the Vikhutein, Technical Institute of Moscow, dominated by Tatlin that there, rather monotonously made many disciples, among them the brothers G. and V. Stenberg and K. Medunetsky - were so many bodies active propaganda of an art, or an "agit-prop" in the theater, with its sets, played an important role, as the poster and the most graphic arts, abstract formulations which would otherwise also took to the streets in festive decorations, or in trains (and boats) that advertising across the vast country. In 1922, an exhibition of Soviet avant-garde in Berlin, was to some extent, the swan song of such action.
In reality, the USSR, beyond its immediate turmoil, the abstraction was not more than an accident, between the naturalist tradition more or less a modernized neoplasticism popular, nationalist, and his recovery as early as 1920, scholars adhering to the new political , which eventually annihilate, soon, the revolutionary vanguard.
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