By 1909, concurrent with the transition from Impressionist to Post-Impressionist painting technologies, the Italian Futurists published a manifesto in the Parisian newspaper, Le Figaro. Their ideas filtered to Russia and the artist Malevich and his followers; one of whom was Lissitzsky. Soviet artists responded to the Parisian school with ideas of their own. Lissitzsky studied engineering and architecture from 1909-1914. After being a painter, illustrator and designer of Soviet flags, he taught with Malevich at Vitebsk and at art workshops in Moscow.
A Revolution in High Performance Paint
Arriving in Berlin in 1921 to set up exhibitions of post-revolutionary avant-garde artists, Lissitzky was also a writer and designer for international magazines. His achievements served as a quasi-campaign; forging links between artists in Russia and in the West, between Weimar’s De Stijl and Constructivism. Konstructivism and the Soviet artists which comprised their working group, such as Rodchenko and Tatlin, conceptualized themselves as products as well as the producers in a revolutionary epoch that would find its highest expression in the October Revolution; an event offering immense impulse toward furtherance of experimentation and innovation.
It is in this context, Stalinism and its totalitarian impulses were viewed as a counterrevolutionary response to those artistic developments. Quite a few scholars argue that this proof that the revolution was a negligible factor in the shaping of artistic life. Critiques of Marxism’s cultural tendencies point to the accomplishments of the early 1920s. What would become of the group in the face of the Bolsheviks’ usurpation of power is resulted in an environment that was reductionist in extreme. What remained, however, was the inspiration of the movement, and particularly the more practical elements drawn from a vigorous sphere of scientific inquiry.
Industrial Optics in Design
New technologies from the field of industrial optics were incorporated in the aesthetic and rhetorical expressions of Soviet Futurists. The role of optics in design would ultimately inspire an artistic school dedicated exclusively to concepts taken from nature. The use of light as the synonym for manufacture of the new synthetic fibre, Rayon, would soon find popular translation in the production of decorative textile products. ‘Rayonism,’ and its focus on technological light, served as a political vehicle for artists such as Moscow painter, Natalya Goncharova (1912), in her work, Green and Yellow Forest.
The cosmology of the factory and optical processes that led to the use of scientific innovation of the chemical fabrication processes used in the creation of modern home décor and industrial design products, are responsible for bringing high performance paint to market. The future market value of any property depends on the durability of its paint. Join the Revolution. Purchase industrial quality, high performance paint products.
