It said: "Our aim - working drawings and paintings made with all the charm of hard work, because we know that the most valuable thing in the painting or drawing - is a mighty work of man over the thing, in which he reveals himself and his immortal soul. .. Relatively painting we say that we adore her, entered, rooted in the now, and that we were the first heralds a new era of art - paintings made by Century and drawings made, and our homeland shifts the emphasis to art, our motherland, has generated a memorably gorgeous temples , art, artisans and icons ... "

Start the 1910 - that golden moment of Russian art, which does not challenge anyone in the world. Non-objectivity (or abstraction). Conditions that led to the exit into irrelevance, emerged in the art of many European countries, but that Russian artists, a record pace digested impressionism, post-Impressionism, Cubism and Futurism - make this step first.
Abstract theoretician Michel Seyfor argues that it all started with Kandinsky: the artist entered the darkened shop and saw the indescribable beauty, what is his own painting, which I saw with other eyes. Since then, Kandinsky gained complete freedom from imitation.
Kandinsky passed cubism - a rare case. Freedom of lines, colorful symphony of his works was inspired by Russian folklore, which Kandinsky, as well as his contemporaries Larionov and Malevich, are well known and studied.
In 1912 in Munich, Kandinsky published his famous book "On the Spiritual in Art", in the same year, Nicholas Kulbin - for lack of the author - read chapters from this book on the All-Russia Congress of artists in St. Petersburg. The book had a big impact, because the idea of non-objective art, has long been in the air.
At the turn of 1911-1912 years his version of non-objective painting - Rayonism - creates Larionov. The theoretical foundation of his method he outlined in the works Rayonism "(1913) and" Radiant Painting "(1913).
By 1913, Malevich considers the emergence of the idea of Suprematism. (Although the practical implementation happened a little later).
From that time until the early 20-ies-figurative art has become a leading trend in the Russian Avant-garde and gaining a growing number of supporters and followers.

Here's how it all started:
"Untitled (First Abstract Watercolor). 1910
Paper, pencil, watercolor, ink
188h196 cm
Paris, National Museum of Modern Art, Pompidou Center

"Impression III (Concert). 1911
Oil on canvas
77,5 x 100 cm
Munich, City Gallery in Lenbahhauze

"Composition IV". 1911
Oil on canvas
159,5 h250, 5 cm
Dusseldorf, Art Collection of Northern Rhine-Westphalia

"Composition V". 1911
Oil on canvas
190h275 cm
Switzerland, private collection

"Painting with black arch. 1912
Oil on canvas
188h196 cm
Paris, National Museum of Modern Art, Pompidou Center

"Painting with white border. May 1913
Oil on canvas
55 ¼ 78 7 /8 inches
Solomon Guggenheim Museum, New York

Here are some more "radiant Larionov"

And the wonderful article by V. Agrarians (alias Varvara Stepanova) of pointless work. Published article was later - in 1919, when she already Rodchenko without aimless creativity itself is not thought, but it hurts good.

1915 January. In the Chamber Theater Tairov staged the play "fan" Goldoni in the design of Goncharova and Larionov.
MAR. 1 st futuristic exhibition "Tramway V" with the participation of Malevich, Cluny, Popova, Puni, Rozanova, Udaltsova, Exter, Tatlin, Morgunova, Boguslavsky.
April. In the salon K. Mikhailova Moscow K. Kandaurova organized "Exhibition zhivopisi/1915 year", which was attended by representatives of all the avant-garde movements: Burliuk, Chagall, Alexander Grishchenko, Goncharova, Kandinsky, Konchalovsky, M. Larionov, A. Lentulov, Mashkov, R. Falk and others
In the Art Bureau Dobychina held "Exhibition of paintings by leftist movements" with the participation of N. Altman, B. and D. Burliuks, A. Gryshchenko, VA Kamensky, Kandinsky, Kulbin Lentulova, Puni, Rozanova, Saryan, Shkolnik, Udaltsova, Falk, Yakulov.
July. Larionov and Goncharova left Russia.
December. In Moscow, opened "The Last Futurist Exhibition of paintings 0,10", organized by Ivan Puni, which appeared Suprematist work of Malevich and his first followers of Cluny and Menkova. At the insistence of women participating in the exhibition, the term "Suprematism" was not listed in the catalog. The exhibition was attended Altman, Boguslavsky, M. Vasiliev, Kamensky, AA Kirillov, Kliun, Malevich, M. Menkov, V. Pestel, L. Popova, I. Puni, A. Rozanov, V. Tatlin, N. Udaltsova. Was also represented "a collective picture of the" Malevich, Boguslavsky, Puni, Cluny and Menkova (never managed to find information about this work). The exhibition Matyushin pamphlet was published Malevich "From Cubism to Suprematism (new pictorial realism).

And a little more to this subject:

1916 March. Moscow Tatlin organized an exhibition of "Store" with the participation of Malevich, Cluny, Popova, Exter, Rodchenko, Udaltsova. In this exhibition he put his two kontrrelefa.
April. In Petrograd the Art Bureau Dobychina hosted the exhibition "Contemporary Russian Painting," which presented works Kulbin, Kandinsky, Puni, Popova, Rozanova.
November. In Moscow, opened another "Jack of Diamonds" with the participation Suprematist Malevich, D. Burliuk, Chagall, Exter, Cluny, Puni, Rozanova, Udaltsova.
In Paris, Goncharova works for Diaghilev over the sets and costumes for the ballet "Espana" by Ravel and "Triana" Albeniz, A Larionov draws ballet "Natural History" by Ravel. None of the performances was not implemented.
Flowering in Russia, "a futuristic book" - but I think it is better as a separate subject.

And some more:

1917 February 27 (March 12). The overthrow of the autocracy in Russia.
12 (25) March. In Petrograd, the meeting took place the arts, which adopted a resolution on the establishment of the Union of artists, was introduced by a protest against the establishment of the Ministry of Arts and seize power over the art group of artists "The World of Art" (meaning set up under the chairmanship of Alexander Benois Commission to establish an independent agency Fine Arts).
May. Prepared for publication the first issue of the journal "Supremus" (not published). Society "Supremus" was formed at the junction of 1916 \ 1917. under the leadership of Malevich. It includes Kliun, Popova, Rozanova, Udaltsova, Exter, N. Davydova. Editorial secretary was Olga Rozanova, secretary of the society - Hope Udaltsova.
"May 4 (6 June). In Moscow, established a trade union of artists, divided into three factions: the older, central, and young (left), the last entered Malevich, Tatlin, Rozanov, Yakulov and Gryshchenko.
9 (22) October. Premiere of "Salome" O. Wilde at the Chamber Theater Tairov in the design Exter.
October 25 (November 7). Revolution. The seizure of power by the Bolsheviks.
In Smolny VTsIK gathered writers, artists, theater workers to discuss their cooperation with the Soviet authorities.
November 21 (14 December). At the next exhibition "Jack of Diamonds" on display 314 works, including Malevich, Kliun, tusk, Rozanova, Exter, Burliuk, Khodasevich, AG Baryshnikov, N. Davydova, Kamensky, Peter D., etc.
6-19 December (December 19 - January 1). 2-Exhibition of Modern Decorative Arts "Recruitment" (Art Salon B. Dmitrovka, 11) in Moscow. The exhibition and sale of exhibited dull peasants of the village Recruitment (Kiev province) embroidery on silk on sketches K. Boguslawska, I. Puni, N. Davydova, Kazimir Malevich, O. Rozanova, N. Udaltsova, L. Popova, Alexandra Exter. It presents about 400 items, including - Pillows, belts, handbags, dolls. You can imagine anything like that in our time?!
December 26 (8 January). In Moscow, opened the exhibition "World of Art" with the participation Lentulov, Mashkova, Falk, Lisitsky, Zhegin, Chekrygin, Shevchenko, Yakulov, Gryshchenko.
In Paris, Diaghilev presented a dance suite "Russian fairy tales to music by Liadov, in the design of Goncharova and Larionov.

A few more illustrations in 1917 Notice of Gryshchenko, is not it, there's something in common with the late de Stael?

I would vsetaki separated the thick red line before and after the vanguard of the revolutionary, representing a whole, and bound him with the Western avant-garde Italian, French and especially German pre-war. Further reproduction seems dull, Falk prewar very bright, like Chagall and Malevich. Falk has been corrupted in Paris, where he returned in 1938godu.