The study of the universe and the images of science and scientific knowledge in the works by Russian avant-garde artists: a case study of Alexander Rodchenko
Attempts to introduce objective research methods into artistic creativity have marked the works of many Russian avant-garde artists of the early 20th century. Here there is the appeal to the concepts of dimensionality of space and mathematical symbols by El Lissitzky (Lazar Markovich Lissitzky), the use of topological models in the constructions of Naum Gabo (Naum Neemia Pevsner) and Antoine Pevsner, interest in projective geometry and the use of axonometric images not only in real projects, but also in easel compositions by Gustav Klutsis. The very mention of scientific terminology in the author's comments, manifestos, pedagogical activity has become a kind of sign of the times. Scientific symbolism and images formed an important part of the mythology of the avant-garde. This article is devoted to the study of the works by Alexander Rodchenko, one of the Russian avant-garde artists. The author of the article points out that Alexander Rodchenko, sending planes and shapes into space, formed the world subject to his imagination, the world of prototypes of architecture and the arts of the future in the abstract painting of 1917-1920. In his concept of creativity, art is an invention, an experience that affects the perception of the world and the possibilities of its construction.