Abstract
The period in Russian art history directly following the Bolshevik Revolution and lasting until the advent of Social Realism in the middle 1920s has rightly been heralded as truly progressive and at the forefront of the European avant-garde. A number of exhibitions have focused in recent years on such prophetic figures as Malevich, Tatlin, Lissitzky, and Rodchenko, with appropriate consideration of their profound influence on contemporary art. Yet art historians have almost totally failed to recognize the essentially Russian nature of this art and thus we have developed, I believe, a mistaken view of the Russian post-revolutionary avant-garde.
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