Mikhail Larionov (1881-1964)

The Russian avant-garde, extremely varied and controversial, early Cubism fascinated adapted to a cube-Futurism, as seen, produced the first abstract works in 1910-11, with M. Larionov (1881-1964) and N. Gontacharova (1881-1962), the movement of "Lucism” ("Rayonnism" – "rayonisme" in French), presented in 1913 as a synthesis of Cubism, Futurism and Orphism, controversy and paradoxically organized against Western culture - although Apollinaire to defend his Paris show in the following year. The forms are painted "spatial forms obtained by the crossing of reflected rays of various objects"; located "outside of time and space", want a "fourth dimension" that had met the Cubist more speculative. The career of pictorial Larionov, coming a expressionist painting, popular and anecdotal, for ideological nationalism, and past, as seen by profuse decanted and pioneering activities in the founding of the groups "Jack of Diamonds" (1910), "Donkey Tail" (1912) and "The Target" (1913), ended in 1915, leaving Russia to integrate, set designer and costume designer as brilliant in the company of Diaghilev. Gontacharova, he followed his destiny, though, around 1955, he was reminded in Paris, retracing screens "Rayonnist" of recent cosmic inspiration.

But two other abstract movements, and violently opposed, would occupy more significantly the scene Soviet and then Russia since 1915: the "Suprematism" of Malevich (and Leporskaia A., V. Ernrolaeva, L. Khidekel, N. M. Suetine, G. Kluza, IG Ghaschuik, I. Kliuns, I. Puni, M. Menkov and futuristic O. Rezanov), as manifest in that year published, and "constructivism" of Tatlin and Rodchenko (and Yakulov G., J. Annenkov , W. Ermilov, V. Stepanova and earlier Cubist and Suprematist Vdaltsova and L. N. Popova, as Klium Vernine architects and brothers) and, between two situations (besides A. Exter, coming from the cube-futurism ), the movement "proun" Ed Lisitzky since 1919. Also in this range of options (and parties) realistic Manifest of Prevsner and Galv, in 1920 came forward, constructivist side, a proposal that would have more lasting effect on the sculpture.