In the early 1820s, when the Comte Hneri de Saint-Simon first conceived of the artist as a social visionary, allied in an elite triumvirate of leders with the scientist and the industrialist, he defined a role for the artist that has remained an elusive ideal ever since.
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The aim of developing this relationship was central to a newartistic social avant-garde. Here we can think of the Futurists' desire to express the speed, cacophony, and simultaneity of everyday life in their art as well as to extend their sensibility to typography, furniture, interiors, and even the design of cities. The Expressionists were not similarly oriented to design,but they too sought an engagement with life as did the Dadaists in Berlin. Artists who believed in the principles of De Stiji and neoplaticism, notably Theo van Doesburg and Piet Mondrian, wanted to make their geometic language manifest in the entire built environment. Among the Russians, Kazimir Malevich wanted Suprematism to become an all-embracing represetnation fo the human sprit and imagined the application of Suprematist forms to all the objects of daily life. The Russain Constructivists held intense debates about at's value, and many decided to abandon art altogether and express thi strong onictions about form by creating new objects of use--kiosks, posters, furniture, and theater sets, for example. At the Bauhaus, Walter Gropius initially hoped to unite all artistic activity under the wing of architecture.引自 Introduction
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